Circumcision of Jesus (Parmigianino)

Total Page:16

File Type:pdf, Size:1020Kb

Circumcision of Jesus (Parmigianino) Circumcision of Jesus (Parmigianino) Parmigianino was much interested in supernatural things like witches and witchcrafts. Yet, he didnâ™t performed any supernatural or paranormal activities like Benvenuto Cellini. From the many works produced by the artist, some of the major works are Circumcision of Jesus, Vision of Saint Jerome, Cupid Making His Arch, Conversion of Saint Paul and Turkish Slave. Though his most of the works were produced according to the commissions he got over the times. But, in between he created some works for his own curiosity, which were the influences of the contemporary artists or his own ideas. Circumcision of Jesus (Parmigianino). From The Art and Popular Culture Encyclopedia. Jump to: navigation, search. The Late Renaissance art biographer Giorgio Vasari described a Circumcision of Jesus by Parmigianino. However, his description does not match the Detroit painting: he described a series of characters holding torches and walking which do not appear in this work. The painting is known with certainty only starting from the 1830s, when it was part of the Russian imperial collection and was copied in a 1851 etching by J.W. Muxel. In 1917 it was acquired at Stockholm by A.B. Nordiska Kompaniet, which, a few years later, sold it to the American Axel Beskow. In 1936 he donated the work to the Detroit painting by Parmigianino (Museum: Detroit Institute of Arts). Circumcision of Jesus is an artwork on USEUM. It was created by Parmigianino in 1523. USEUM is a social network that enables users to collect, document and share their most cherished art, for everyone to see, comment and⦠add to it. Our goal is to enable an international database of art that will be created and curated, solemnly and equally by every single user. Hand-picked art wallpapers, famous quotes and more from USEUMâ™s best in your mailbox every couple of weeks. Circumcision of Jesus on WN Network delivers the latest Videos and Editable pages for News & Events, including Entertainment, Music, Sports, Science and more, Sign up and share your playlists. The Late Renaissance art biographer Giorgio Vasari described a Circumcision of Jesus by Parmigianino. However, his description does not match the Detroit painting: he described a series of characters holding torches and walking which do not appear in this work. The painting is known with certainty only starting from the 1830s, when it was part of the Russian imperial collection and was copied in an 1851 etching by J.W. Muxel. In 1917 it was acquired at Stockholm by A.B. Nordiska Kompaniet, which, a few years later, sold it to the American Axel Beskow. Circumcision of_Jesus (Parmigianino), Circumcision of Jesus: Wikipedia, the Free Encyclopedia [home, info]. Religion (2 matching dictionaries). Circumcision of Jesus: Religious Tolerance [home, info]. Circumcision of Jesus: Glossary of spiritual and religious terms [home, info]. â–¸ Words similar to circumcision of jesus. â–¸ Words that often appear near circumcision of jesus. â–¸ Rhymes of circumcision of jesus. â–¸ Invented words related to circumcision of jesus. Search for circumcision of jesus on Google or Wikipedia. Search completed in 0.016 seconds. Home Reverse Dictionary Customize Browse Dicti.
Recommended publications
  • Artwork of the Month May 2021 Parmigianino (1503-40), Portrait of a Young Man with a Book (Circa 1524)
    Artwork of the Month May 2021 Parmigianino (1503-40), Portrait of a Young Man with a Book (circa 1524) Anne Hall, a former Chair of the Friends, writes about a painting that is a particular personal favourite and also one of the Gallery’s masterpieces, an arresting portrait by the great Mannerist artist Parmigianino Parmigianino, Portrait of a Young Man, oil on canvas, 70 x 52 cm, York Art Gallery, YORAG 739. By permission York Art Gallery 1 This wonderful portrait of A Young Man with a Book by Parmigianino is one of the greatest treasures of our Gallery. Acquired in 1955 as part of the F.D. Lycett Green Collection, it was recently shown on TV’s Fake or Fortune, where it was held up as a significant work by an artist rarely seen in the UK. I personally was fascinated by this enigmatic painting, more a character study than a mere likeness, when I first saw it. During our closure it was exhibited in the National Gallery, London, a sign of its high status; in 2004 it had been displayed at the Frick in New York at a special exhibition entitled ‘A Beautiful and Gracious Manner: The Art of Parmigianino’. At one time it was thought to be by Correggio (1489-1534); however, its authenticity was established by documents as having been in the collection of the Farnese palace in Rome (the setting of the second act of Tosca), where it was hung beside a Memling and an El Greco. The painting shows an intense young man, not reading, but pointing to a passage on which he is meditating.
    [Show full text]
  • Girolamo Francesco Mazzola, Called Il Parmigianino (Parma 1503 - 1540 Casal Maggiore)
    THOS. AGNEW & SONS LTD. 6 ST. JAMES’S PLACE, LONDON, SW1A 1NP Tel: +44 (0)20 7491 9219. www.agnewsgallery.com Girolamo Francesco Mazzola, called il Parmigianino (Parma 1503 - 1540 Casal Maggiore) Three studies of a nude female figure Bears inscription 'Parmigno' (on the reverse of the original sheet) Red chalk heightened with white on laid paper, laid onto a second sheet 2 ½ x 4 in. (6.5 x 10.3 cm.) Provenance Possibly obtained from the artist's studio by Cav. Francesco Baiardo (1486-1561) Probably Thomas Howard, Earl of Arundel (1586-1646) Giovanni Antonio Armano (1751- circa 1823) Charles Sackville Bale (1791-1880), according to an inscription on the mount George Salting (1835-1909), by whom given to Sir Charles Nicholson (1808-1903), by whom given to his son Sir Sydney H. Nicholson (1875-1947) Acquired by the present owner's family in the 1940s Literature M. Mussini and G.M. de Rubeis, Parmigianino tradotto, Parma, 2003, p. 115, no. 183 (where the print of this drawing, in reverse, is listed as 'Incisore anonimo del XVII secolo') A.E Popham, Catalogue of the Drawings of Parmigianino, vol. I, Cambridge, 1971, p.267 (appendix I), under 208 Engraved Francesco Rosaspina This drawing recently came to light in an album assembled in the 19th century containing drawings by a number of different hands. It relates to the figures of maidens with vessels on their heads or canefore which are associated with Parmigianino's depiction of the Wise and Foolish Virgins on the vault of the church of Santa Maria della Steccata in his home town of Parma.
    [Show full text]
  • PRESS RELEASE from the FRICK COLLECTION
    ARCHIVED PRESS RELEASE from THE FRICK COLLECTION 1 EAST 70TH STREET • NEW YORK • NEW YORK 10021 • TELEPHONE (212) 288-0700 • FAX (212) 628-4417 PARMIGIANINO’S ANTEA: A BEAUTIFUL ARTIFICE January 29, 2008, through May1, 2008 Press Preview: Monday, January 28, 2008, 10 a.m. to 11 a.m. (Remarks at 10:15am) The Frick Collection, 1 East 70th Street, New York, NY 10021; RSVP: (212) 547-6844 This winter and spring Parmigianino’s hauntingly beautiful portrait of a young woman known as Antea (c.1531–34) will be on view in the United States for the first time in more than twenty years. Generously lent to The Frick Collection by the Museo di Capodimonte in Naples, this painting is one of the most important portraits of the Italian Renaissance. Like Leonardo da Vinci’s Mona Lisa, Parmigianino’s Antea is a consummate example of a portrait with compelling psychological presence. The sitter’s penetrating gaze and naturalistic presentation suggest that we may be encountering a real person, yet the identity of this young woman is unknown. Many questions about the painting remain unanswered. Of these, the most persistent concerns the sitter’s identity. One of the earliest mentions of the painting, dating from the late seventeenth century, claims she is Antea, a famous Roman courtesan, and Parmigianino’s mistress; other theories suggest she is the daughter or servant Parmigianino (1503–1540), Antea, c.1531–34, oil on canvas, of the artist, a noble bride, or a member of an aristocratic family. Still others 136 x 86 cm, Museo di Capodimonte, Naples have suggested that the painting is an example of an “ideal beauty,” a popular genre of Renaissance female portraiture in which the beauty and virtue of the sitter were of paramount importance, rather than her identity.
    [Show full text]
  • On Beautiful Women, Parmigianino
    On BeautifulWomen, Parmigianino,Petrarchismo, and the VernacularStyle ElizabethCropper Among PietroTesta's notes on painting,which were unsys- Finallyon this side of the sheet Testa shows the back of tematicallycollected after his deathin 1650, is one foliodedi- the neck, which mustbe rosyand white and not too deeply catedto "Particolariperfetioni che fannola donnabellissima" furrowedby the line of the spine. (Figs. 1 and 2).1 It is devoted, as the heading indicates, The diagrammaticnature of the marginalsketches makes it to the artist'sdefinitions of thosefeatures that render a woman quiteclear that they werenot intendedto be perfectacademic mostbeautiful. The notes areunusually clear and precise, and models,nor were they drawnfrom life. They werebrief aids in the marginnext to the writtendescription of eachparticular to Testa'sunderstanding, to help him visualizethe contents featureTesta drew a smallillustrative sketch. The rectoof the of the noteshe wastaking-notes thatwere not hisown formu- sheet (Fig. 1) is concernedwith qualitiesof the head and lationof the idealfemale beauty, but that he madeas he read shoulders.Testa required that the hairbe long, fine, blonde, Agnolo Firenzuola'sDialogo delle bellezze delle donne.2 This and knottedsimply. For the browhe madea diagramof two book, completedin 1542, a centurybefore Testa readit, it- squares,representing its correctwide proportions.In the left self drawsupon the visionsof manyearlier writers, and it is squarehe showshow the browshould curve in an arctowards probablythe most completeexposition of the beautyof the the top. The eyebrowsare to be dark,and they too should ideal woman among the multitude of sixteenth-century curve in perfectarches that tapergently towardsthe ends. treatmentsof the theme, beingconcerned not only with her Beautifuleyes are largeand prominent,oval in shape, and perfectfeatures, but also with her colors, proportions,and blue or dark chestnut in color.
    [Show full text]
  • San Giovanni Battista, School of the '500 of Parmigianino
    anticSwiss 02/10/2021 01:37:31 http://www.anticswiss.com San Giovanni Battista, School of the '500 of Parmigianino SOLD ANTIQUE DEALER Period: 16° secolo - 1500 Antichità Castelbarco Riva del Garda Style: Rinascimento, Luigi XIII +39 0464 973235 393494296409 Height:115cm Width:88cm Material:Olio su tela Price:0€ DETAILED DESCRIPTION: Emilian painter of the late sixteenth century School of Francesco Mazzola, known as Il PARMIGIANINO (Parma, 1503 - Casalmaggiore, 1540) Portrait of Saint John the Baptist Oil on canvas, cm. 99 x 72 With antique frame in gilded wood, cm. 115 x 88 Details of the artwork (link): https://www.antichitacastelbarco.it/it/prodotto/san-giovanni- battista-scuola-parmigianino Important painting depicting Saint John the Baptist in full figure, a work made in oil on canvas and attributable to an author of the late sixteenth century of the Emilian school of Francesco Mazzola, known as Parmigianino. The painting, which proves to be of excellent quality, is a study dedicated to the famous altarpiece depicting the 'Vision of San Girolamo', created by Parmigianino in 1526 for the church of San Salvatore in Rome, and now housed in the National Gallery in London (1). (1) https://www.nationalgallery.org.uk/paintings/parmigianino-the-madonna-and-child- with-saints The fame of Parmigianino, whose career saw him active in Rome and Bologna, was already great while the painter was still alive. His contemporaries, in fact, were able to recognize the beauty of the style and the refinement of the stroke that characterized his works. Returning to our canvas, the characters of the pictorial drafting suggest a dating towards 1 / 4 anticSwiss 02/10/2021 01:37:31 http://www.anticswiss.com the end of the sixteenth century, while the author is certainly to be found among the different disciples who in the last decades of the century looked to the Parma master as an example of style, replicating him some models of great success and therefore in great demand by the prestigious client of the time.
    [Show full text]
  • CALIFORNIA STATE UNIVERSITY, NORTHRIDGE IL PARMIGIANINO: the ROMAN YEARS a Thesis Submitted in Partial Satisfaction of the Requi
    CALIFORNIA STATE UNIVERSITY, NORTHRIDGE IL PARMIGIANINO: THE ROMAN YEARS A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Lynne Shapiro June, 1980 The thesis of Lynne Shapiro is approved: Louise}Lewis, M.A. Jeaii' Weisz, M.A. Donald s. Strong, Ph.D,-Chairman California State University, Northridge ii DEDICATION I dedicate this thesis to my children Bill and Dean Shapiro. iii ACKNOWLEDGMENTS I would like to express my appreciation to Dr. Donald S. Strong for his class in the Art of the Sixteenth century, where I became fascinated with the historiography of the period and moved by the beauty of its art. As chairman of my thesis committee, he suggested readings that were always valuable and that enabled me to begin the work of reinterpreting the St. Jerome Altarpiece. Jean Weisz of the University of California at Los Angeles was most gracious in consenting to serve on my thesis committee. With her knowledge of Sixteenth century art and her suggestions on my work in progress, she provided helpful guidance. Louise Lewis has shared her knowledge in the field of prints, and her enthusiasm has meant a great deal to me. iv TABLE OF CONTENTS Page LIST OF PLATES AND SOURCES . vi ABSTRACT .. xii INTRODUCTION • . 1 Chapter 1. PARMIGIANINO AND THE PAPACY ..•••... 4 Aspirations of the artist . • demon­ stration paintings for the Pope . drawings in the style of Raphael . failure to win papal patronage • . financial, political and military considerations . dependence upon private patrons. 2. THE ST. JEROME ALTARPIECE AND OTHER PAINTINGS OF THE ROMAN PERIOD.
    [Show full text]
  • A Classical Source for a Note on the History of The
    Originalveröffentlichung in: Source : notes in the history of art 19 (1999), Nr. 1, S. 13-19 A CLASSICAL SOURCE FOR A DRAWING BY PARMIGIANINO: A NOTE ON THE HISTORY OF THE FLORENTINE NIOBID Michael Thimann The problem of Parmigianino’s response to Rome in 1527, Parmigianino resided in the classical world in his drawings has yet Bologna until 1531 and was the leading to be given a detailed analysis.1 Although contemporary painter there; he brought a rarely exhibiting an antiquarian’s exacti­ “vero uso del gratioso, et Eccellente di- tude for detail, a number of the artist’s pignere, et dissegnare” to an area seen by drawings illustrate his response to antiqui­ contemporaries as artistically provincial.6 ty, however. With reference to those draw­ Vasari asserts that Parmigianino’s first ings that draw their inspiration from classi­ work to be completed in Bologna—around cal examples, I would like to offer some 1527/28—was the “Paia di San Rocco”in new insights. San Petronio for the former chapel of the In the second edition of Vasari’s Vite Bonsignori family.7 This work, a personal (1568), we learn of the initial distinguished votive picture of its patron, Baldassare or reception of the young Parmigianino as a Fabrizio da Milano, ended up in the private worthy descendant of Raphael upon chapel in the wake of the plague of 1527.8 Parmigianino’s visit to the court of Cle­ In connection with the altar picture, a num­ ment VII in Rome where he stayed from ber of sketches exist and have already been 1524 to 1527.2 As recorded by Vasari, the the
    [Show full text]
  • European Art: Mannerism by Joe A
    European Art: Mannerism by Joe A. Thomas Encyclopedia Copyright © 2015, glbtq, Inc. Entry Copyright © 2002, glbtq, Inc. Reprinted from http://www.glbtq.com In the visual arts Mannerism refers to the dominant style of painting, sculpture, and architecture in Europe from around 1520 to about 1600, particularly in Italy. Characterized by exaggeration, artifice, and purposeful complexity, this "stylish Top: The Palazzo del Tè style"--as John Shearman has described it--was an artistic expression of the highly designed by Giulio refined courtly culture of the sixteenth century, while it simultaneously represented Romano. the changing status of the artist from mere artisan to educated creative spirit. It has Above: The Rape of the Sabines (1581-1583) by proven to be a great favorite of gay audiences, who developed a camp appreciation Giovanni Bologna. for its frequent excesses. The image of the Palazzo del Tè appears The Term Mannerism under the GNU Free Documentation License. Image attributed to The term Mannerism derives from the Italian maniera, meaning style or manner. The Marcok. exact usage and meaning of the term have been the subject of highly contentious debate within the field of art history, with some art historians such as Sydney Freedberg applying it to only a small group of artists from the first half of the century, and using alternative terms such as maniera and counter-maniera to describe other groups. In its most common usage, however, Mannerism refers more generally to the prevalent style of European art and architecture between the High Renaissance and the Baroque. Exaggerated or elongated proportions, extreme idealization, spatial confusion, horror vacuii (literally "fear of vacuum," a visual composition with virtually no negative space, in which every square inch is covered with something), and multiple layers of meaning are just some of Mannerism's notable characteristics.
    [Show full text]
  • 1 Executive Summary 1. Brief Description of Item Girolamo
    Executive Summary 1. Brief description of Item Girolamo Francesco Maria Mazzola, called Parmigianino (1503–1540) The Madonna and Child with the Young Saint John the Baptist and Mary Magdalene, c. 1535–40 Oil on paper, laid on panel, 75.5 x 59.7 cm A seated Madonna in a pink and blue gown—positioned to the right of the composition—looks down at the standing Christ Child and holds his left arm. The Child in turn looks towards the young Saint John the Baptist whose hands are together in prayer. Behind the Christ Child, and supporting him, is a seated young woman, almost certainly Mary Magdalene; she is identified by the jewellery chest in the foreground. What is probably her assumption appears in the top left – behind the verdant landscape and stream, and above a rocky outcrop – in the form of a figure atop a cloud. The work is in excellent, almost pristine condition. 2. Context Provenance Cardinal Antonio Barberini (1607–1671), Palazzo Barberini, Rome, first mentioned in the 1644 inventory, no. 308; and again in his posthumous inventory of 1671, no. 143; thence by inheritance to his nephew, Prince Maffeo Barberini (1631–1685), Palazzo alle Quattro Fontane, Rome, listed in the 1672 inventory of Cardinal Antonio Barberini’s bequests to his brother, Cardinal Francesco Barberini, and nephew, Prince Maffeo Barberini, no. 62; and again in Prince Maffeo’s posthumous inventory of 1686, no. 273; thence by descent to his son, Prince Urbano Barberini, Prince of Palestrina (1664–1722), listed in an undated inventory (probably 1686) of the paintings inherited by Prince Urbano from his father, no.
    [Show full text]
  • Reflections on Parmigianino's Self Portrait in a Convex Mirror
    Reflections on Parmigianino's Self portrait in a convex mirror: A computer graphics reconstruction of the artist's studio David G. Storka and Yasuo Furuichib aRicoh Innovations, 2882 Sand Hill Road Suite 115, Menlo Park CA 94025 USA and Department of Statistics, Stanford University, Stanford CA 94305 USA bKanagawa, Japan ABSTRACT We built a full computer graphics model of Parmigianino's studio, including convex mirror, in order to explore the artist's likely working methods during his execution of Self portrait in a convex mirror (1523-4). Our model supports Vasari's record that the radius of curvature of a convex mirror matched the radius of curvature of the wood panel support. We find that the image in the painting is consistent with a simple horizontal rectilinear room drawn from a slightly re-oriented and re-positioned mirror. Our optical analyses lead us to recommend an alteration to the current display arrangement in the Kunsthistorisches Museum. Keywords: Parmigianino, Self portrait in a convex mirror, Mannerism, tableau virtuel, computer graphics, art analysis 1. INTRODUCTION Parmigianino's interest in psychological introspection, belief in a shifting impermanent visual reality, experimen- tation in the dark sciences of alchemy, wit, and youthful desire to demonstrate his artistic prowess all find their expression in his small Self portrait in a convex mirror (1523{4), a painting that stunned 16th-century Roman audiences (Fig. 1). Vasari wrote that the artist produced this \bizarre" work as follows: Parmigianino \...began to draw himself as he appeared in a barber's convex glass [mirror]. He had a ball of wood made at a turner's and divided it in half, and on this he set himself to paint all that he saw in the glass.
    [Show full text]
  • Renaissance and Mannerism in Cinquecento Italy
    Unit Sheet 17:Chapter 22: Renaissance and Mannerism in Cinquecento Italy High Renaissance Art c. 1500 -1527 Works of Art Artist Medium Date Page # 22-1: Sistine Chapel Ceiling Michelangelo Painting 1512 598 22 -2: Madonna of the Rocks Leonardo da Vinci Painting 1483 601 22-4: Last Supper Leonardo da Vinci Painting 1495-1498 602 22-5: Mona Lisa Leonardo da Vinci Painting 1503-1505 603 22-7: Marriage of the Virgin Raphael Painting 1504 605 22-9: School of Athens Raphael Painting 1509-1511 607 22-11: Galatea Raphael Painting 1513 608 22-12: Pieta Michelangelo Sculpture 1498-1500 610 22-13: David Michelangelo Sculpture 1501-1504 611 Pieta 22-14:Moses Michelangelo Sculpture 1513-1515 612 22-17 to 22-18: ceiling of Sistine Chapel, Creating of Adam Michelangelo Painting: 1508-1512 614-615 22-19: Sistine Chapel – Last Judgment fresco Michelangelo Painting: 1536-1541 616 T 22-21: Templetto Bramante Architecture: begun 1502 618 22-26 to 22-27: Palazzo Farnese Sangallo the Younger Architecture: 1530 621 22-28: Villa Rotonda Palladio Architecture: 1550-1570 622 22-34: Tempest Giorgione Painting 1510 626 22-37: Madonna of the Pesaro Family Titan Painting 1519-1526 628 22-39: Venus of Urbino Titan Painting 1538 629 22-42: Entombment of Christ Pontormo Painting 1525-1528 632 22-44: Madonna with the Long Neck Parmigianino Painting 1534-1540 633 22-45: Venus, Cupid, Folly, and Time Bronzino Painting 1546 634 22-48: Last Supper Tintoretto Painting 1594 636 22-49: Feast in the House of Levi Veronese Painting 1573 636 22-51: Assumption of the Virgin fresco Correggio Painting 1526-1530 638 Preview: Italian art in the 16 th century built upon the foundation of the Early Renaissance, particularly the interest in classical culture, perspective, and human anatomy, but it developed in dramatic, distinctive ways.
    [Show full text]
  • Self-Portrait in a Convex Mirror As Parmigianino Did It, the Right Hand
    Self-Portrait in a Convex Mirror As Parmigianino did it, the right hand Bigger than the head, thrust at the viewer And swerving easily away, as though to protect What it advertises. A few leaded panes, old beams, Fur, pleated muslin, a coral ring run together In a movement supporting the face, which swims Toward and away like the hand Except that it is in repose. It is what is Sequestered. Vasari says, "Francesco one day set himself To take his own portrait, looking at himself from that purpose In a convex mirror, such as is used by barbers . He accordingly caused a ball of wood to be made By a turner, and having divided it in half and Brought it to the size of the mirror, he set himself With great art to copy all that he saw in the glass," Chiefly his reflection, of which the portrait Is the reflection, of which the portrait Is the reflection once removed. The glass chose to reflect only what he saw Which was enough for his purpose: his image Glazed, embalmed, projected at a 180-degree angle. The time of day or the density of the light Adhering to the face keeps it Lively and intact in a recurring wave Of arrival. The soul establishes itself. But how far can it swim out through the eyes And still return safely to its nest? The surface Of the mirror being convex, the distance increases Significantly; that is, enough to make the point That the soul is a captive, treated humanely, kept In suspension, unable to advance much farther Than your look as it intercepts the picture.
    [Show full text]