Parmigianino

orig. Girolamo Francesco Maria Mazzola

born Jan. 11, 1503, Parma, Duchy of Milan

died Aug. 24, 1540, Casalmaggiore, Cremona

Italian painter and etcher.

He painted some of his early frescoes for San Giovanni Evangelista; they were influenced by Correggio, who had recently worked in the same church. His originality is seen in his Self-Portrait in a Convex Mirror (1524). His Madonna of the Long Neck (1534) is typical of his later work, which is characterized by ambiguity of spatial composition, elongation of the human figure, and the pursuit of a rhythmical, sensuous beauty beyond nature. Among the most remarkable portrait painters of his age, he was one of the first artists to develop the elegant and sophisticated version of Mannerism that influenced the next generation of painters and was one of the first Italian artists to practice etching.

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▪ Italian artist

byname of  Girolamo Francesco Maria Mazzola , Mazzola also spelled  Mazzuoli  

born Jan. 11, 1503, Parma, duchy of Milan [Italy]

died Aug. 24, 1540, Casalmaggiore, Cremona

 Italian painter who was one of the first artists to develop the elegant and sophisticated version of Mannerist style that became a formative influence on the post-High Renaissance generation.

      There is no doubt that Correggio was the strongest single influence on Parmigianino's early development, but Parmigianino probably was never his pupil. The influence is apparent in Parmigianino's first important work, the Mystic Marriage of St. Catherine (c. 1521). About 1522–23 he executed two series of frescoes: one series, in two side chapels of S. Giovanni Evangelista, in Parma, was executed contemporaneously with Correggio's great murals on the dome and pendentives of that church, and the other, representing the Legend of Diana and Actaeon, was executed on the ceiling of a room in the Rocca Sanvitale at Fontanellato just outside Parma. The scheme of the latter decoration recalls Correggio's work in the Camera di San Paolo in Parma.

 After the summer of 1524, Parmigianino moved to Rome, taking with him three specimens of his work to impress the pope, including the famous self-portrait that he had painted on a convex panel from his reflection in a convex mirror. His chief painting done in Rome is the large Vision of St. Jerome (1527). Although this work shows the influence of Michelangelo, it was Raphael's ideal beauty of form and feature that influenced his entire oeuvre. While at work on the Vision of St. Jerome in 1527, he was interrupted by soldiers of the imperial army taking part in the sack of Rome, and he left for Bologna. There he painted one of his masterpieces, the Madonna with St. Margaret and Other Saints. In 1531 he returned to Parma, where he remained for the rest of his life, the principal works of this last period being the Madonna of the Long Neck (1534) and the frescoes on the vault preceding the apse of Sta. Maria della Steccata. The latter were to have been only part of a much larger scheme of decoration in the church, but Parmigianino was extremely dilatory over their execution, and he was eventually imprisoned for breaking his contract, while the frescoes were contracted to Giulio Romano and Michelangelo Anselmi.

      Parmigianino was one of the most remarkable portrait painters of the century outside Venice. Some of his best portraits are in Naples, in the National Museum and Gallery of Capodimonte, including the Gian Galeazzo Sanvitale (1524) and the portrait of a young woman called Antea (c. 1535–37).

      The style that he developed was, in its suave attenuations and technical virtuosity, one of the most brilliant and influential manifestations of Mannerism. It was an extreme development of Raphael's late manner and opposed the naturalistic basis inherent in High Renaissance art.

      Parmigianino's works are distinguished by ambiguity of spatial composition, by distortion and elongation of the human figure, and by the pursuit of what the art historian Giorgio Vasari called “grace”; that is to say, a rhythmical, sensuous beauty beyond the beauty of nature. This last quality of attenuated elegance is evident not only in Parmigianino's paintings but also in his numerous and sensitive drawings. One of the first Italian artists to practice etching, Parmigianino used the etching needle with the freedom of a pen, usually to reproduce his own drawings, which were in great demand.

Additional Reading

Twentieth-century treatments of Parmigianino's works include S.J. Freedberg, Parmigianino: His Works in Painting (1950, reissued 1971); A.E. Popham, Catalogue of the Drawings of Parmigianino, 3 vol. (1971); and Paola Rossi, L'opera completa del Parmigianino (1980). Later works include Sylvie Béguin, Mario Di Giampaolo, and Mary Vaccaro, Parmigianino: The Drawings (2000; originally published in Italian, 2000); Mary Vaccaro, Parmigianino: The Paintings (2002); David Franklin, The Art of Parmigianino (2003); and David Ekserdjian, Parmigianino (2006).

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