PARMIGIANINO
Italian Mannerist Painter, 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.

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PARMIGIANINO Self-Portrait in a convex mirror oil painting


Self-Portrait in a convex mirror
mk150 1540
Painting ID::  39612
PARMIGIANINO
Self-Portrait in a convex mirror
mk150 1540
   
   
     

PARMIGIANINO The Conversion of Paul oil painting


The Conversion of Paul
mk150 c.1530 Canvas 177.5x128.5cm
Painting ID::  39613
PARMIGIANINO
The Conversion of Paul
mk150 c.1530 Canvas 177.5x128.5cm
   
   
     

PARMIGIANINO Self-Portrait in a Convex Mirror oil painting


Self-Portrait in a Convex Mirror
mk156 c.1523-24 Oil on wood
Painting ID::  40326
PARMIGIANINO
Self-Portrait in a Convex Mirror
mk156 c.1523-24 Oil on wood
   
   
     

PARMIGIANINO Turkish Slave oil painting


Turkish Slave
mk156 1530-31 Oil on wood 67x53cm
Painting ID::  40347
PARMIGIANINO
Turkish Slave
mk156 1530-31 Oil on wood 67x53cm
   
   
     

PARMIGIANINO Madonna with Long Neck oil painting


Madonna with Long Neck
mk156 c.1535 Oil on wood 216x132cm
Painting ID::  40358
PARMIGIANINO
Madonna with Long Neck
mk156 c.1535 Oil on wood 216x132cm
   
   
     

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     PARMIGIANINO
     Italian Mannerist Painter, 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.

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