Francesco Parmigianino
1503 ~ 1540,Italian painter, draughtsman and printmaker. Beginning a career that was to last only two decades, he moved from precocious success in the shadow of Correggio in Parma to be hailed in the Rome of Clement VII as Raphael reborn. There he executed few large-scale works but was introduced to printmaking. After the Sack of Rome in 1527, he returned to northern Italy, where in his final decade he created some of his most markedly Mannerist works. Equally gifted as a painter of small panels and large-scale frescoes both sacred and profane, he was also one of the most penetrating portrait painters of his age. Throughout his career he was a compulsive draughtsman, not only of preparatory studies for paintings and prints, but also of scenes from everyday life and of erotica.

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Francesco Parmigianino Self-portrait in a Convex Mirror oil painting


Self-portrait in a Convex Mirror
mk176 1524
Painting ID::  44895
Francesco Parmigianino
Self-portrait in a Convex Mirror
mk176 1524
   
   
     

Francesco Parmigianino Virgin and Child oil painting


Virgin and Child
between 1525(1525) and 1527(1527) Medium Oil on panel cyf
Painting ID::  87694
Francesco Parmigianino
Virgin and Child
between 1525(1525) and 1527(1527) Medium Oil on panel cyf
   
   
     

Francesco Parmigianino Santa Trinita Altarpiece oil painting


Santa Trinita Altarpiece
between 1455(1455) and 1460(1460) Medium tempera and oil on wood cyf
Painting ID::  97112
Francesco Parmigianino
Santa Trinita Altarpiece
between 1455(1455) and 1460(1460) Medium tempera and oil on wood cyf
   
   
     

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     Francesco Parmigianino
     1503 ~ 1540,Italian painter, draughtsman and printmaker. Beginning a career that was to last only two decades, he moved from precocious success in the shadow of Correggio in Parma to be hailed in the Rome of Clement VII as Raphael reborn. There he executed few large-scale works but was introduced to printmaking. After the Sack of Rome in 1527, he returned to northern Italy, where in his final decade he created some of his most markedly Mannerist works. Equally gifted as a painter of small panels and large-scale frescoes both sacred and profane, he was also one of the most penetrating portrait painters of his age. Throughout his career he was a compulsive draughtsman, not only of preparatory studies for paintings and prints, but also of scenes from everyday life and of erotica.

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