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	Art/Museums: Correggio and Parmigianino at the Metropolitan Museum of Art (Site not responding. Last check: 2007-10-14)
		Parmigianino's paintings are startling in their elongated figures, elegant postures and bold colors.
		Returning to his drawings, it was through Correggio that Parmigianino absorbed the lessons of Leonardo and his Lombard followers, especially in the use of "sfumato," or the seamless blurring of outline and tone in the manner of smoke,’ which Leonardo referred to as ‘a uso di fumo,’ in his notes.
		Parmigianino abandoned it when he fled to Casalmaggiore in 1539 after he was arrested and imprisoned for not fulfilling his commissions in Santa Maria della Steccata, for which he had been paid.
	www.thecityreview.com /correggio.htm (2958 words)

	The State Hermitage Museum: Exhibitions
		Parmigianino was one of the most original artists and a magnificent figure of Italian cinquecento, whose life embodied the complexity of his age.
		Parmigianino was one of the first to take up the avant-garde art of etching in the early 16th century.
		While the Venetians assimilated Parmigianino's high emotions, the school of Fontainbleau in France was inspired by the refined complexity of his compositions and the elegance of his drawing techniques.
	www.hermitagemuseum.org /html_En/04/2003/hm4_1_63.html (637 words)

	Biography
		In 1524 Parmigianino moved to Rome, possibly via Florence, and his work became both grander and more graceful under the influence of Raphael and Michelangelo.
		Parmigianino left Rome after it was sacked by German troops in 1527 and moved to Bologna.
		Parmigianino, whose draughtsmanship was exquisite, also made designs for engravings and chiaroscuro woodcuts and seems to have been the first Italian artist to produce original etchings from his own designs.
	www.wga.hu /bio/p/parmigia/biograph.html (386 words)

	Parmigianino (Getty Museum)
		Following the Sack of Rome in 1527, Parmigianino escaped to Bologna, but within three years he had returned to Parma, where he received a commission to paint frescoes in another church.
		At this time, according to some accounts, Parmigianino became a devotee of alchemy, transforming himself into a lunatic and completing little work at the church.
		Scholars believe that Parmigianino was the first Italian artist to make etchings, and his work significantly influenced the art of printmaking.
	www.getty.edu /art/gettyguide/artMakerDetails?maker=726 (212 words)

	village voice > art > A Beautiful and Gracious Manner: The Art of Parmigianino by Jerry Saltz
		Parmigianino was born into a family of minor artists and began receiving commissions in his teens in his hometown of Parma.
		Parmigianino hadn't seen these works in the flesh yet but he drew them from prints, assimilating them but developing his own extravagant style.
		Pent-up and disgruntled, Parmigianino and a number of young artists who would later be called mannerists rejected the classicism, naturalism, and grand style of the Renaissance.
	www.villagevoice.com /art/0414,saltz,52393,13.html (800 words)

	Parmigianino Biography / Biography of Parmigianino Biography Biography
		The Italian painter Parmigianino (1503-1540) was a pioneer of the mannerist style, within which his work shows an essentially decorative emphasis and accomplished smoothness.
		At the age of 19 Parmigianino was commissioned to execute frescoes for the Parma Cathedral; he painted a series of saints that rival Correggio's in their sinuous grace and gentle shadows.
		Parmigianino fled the sack of Rome in 1527 and went to Bologna.
	www.bookrags.com /biography-parmigianino/index.html (480 words)

	glbtq >> arts >> Parmigianino (Francesco Mazzola)
		Parmigianino (literally, "the little guy from Parma") is the name given to the sixteenth-century Italian Renaissance painter Francesco Mazzola.
		Hailing from the Emilian town of Parma in north-central Italy, where he was born in 1503, Parmigianino is almost universally recognized as one of the most important practitioners of the cultural style that dominated Italy and much of Europe in mid- to late-sixteenth century: Mannerism.
		Toward the end of his life Parmigianino was reportedly obsessed with alchemical experimentation, to the detriment of his artistic career.
	www.glbtq.com /arts/parmigianino.html (747 words)

	Parmigianino (Girolamo Francesco Maria Mazzola): Bishop Saint in Prayer Seen in Bust-length (1995.306) \| Object Page \| ... (Site not responding. Last check: 2007-10-14)
		Over the charcoal underdrawing, Parmigianino applied the two colors of wash with an awesome rapidity of the brush, and in a manner that is very similar to that of his mature easel paintings.
		As is typical of such large rendered Italian Renaissance drawings, the chiaroscuro in Parmigianino's cartoon is calibrated broadly and boldly for legibility at a far viewing distance.
		In scale and design, the Metropolitan Museum cartoon is closest to the broadly painted bishop saint on the left in the so-called Madonna of Saint Margaret (Pinacoteca Nazionale, Bologna), which Parmigianino finished in 1529–30 for the nuns of the convent church of Santa Margherita, Bologna.
	www.metmuseum.org /TOAH/hd/drwg/hod_1995.306.htm (424 words)

	Haber's Art Reviews: The Art of Parmigianino
		Parmigianino teases out a different dichotomy, between the material and the spiritual, the artist's ego and his insight.
		Parmigianino learned from Correggio, before leaving his native Parma to compete on his own, and he assiduously studies the latest manner in Rome.
		In Parmigianino's portrait of an aging cardinal, also on loan at the Frick, the red has become muted grays, and the hands approach shapelessness.
	www.haberarts.com /parma.htm (2345 words)

	Materials and Techniques of Renaissance Drawing (Site not responding. Last check: 2007-10-14)
		Parmigianino was fortunate to have been born into a family of artists when some of the greatest artists of all time were active, including Leonardo da Vinci, Raphael, and Michelangelo.
		By contrast, Parmigianino concurrently employed red chalk to achieve dramatically energetic effects, whether in a fully resolved compositional study for an unexecuted altarpiece or in a garzone study for the figure of Saint Vitalis in one of his frescoes for San Giovanni Evangelista.
		Parmigianino and his contemporaries had available a plentiful supply of chalks in varying shades of red depending on the amount of iron in the ground.
	www.myamericanartist.com /americanartist/drawing/article_display.jsp?vnu_content_id=1000588910 (2928 words)

	The New Yorker: The Critics: The Art World (Site not responding. Last check: 2007-10-14)
		Parmigianino was born Girolamo Francesco Maria Mazzola in Parma, in 1503, and died in exile nearby, at the age of thirty-seven, after having helped to initiate Mannerism, the tendency toward high-strung, strained expressiveness which became a dominant style in European painting for the rest of the sixteenth century.
		Parmigianino knew enough of what he was doing to do it, but not enough to throw moral weight behind it in painting, which seems to have been—as it had to be—a chore to him.
		In art today, Parmigianino figures obviously as a direct influence on what may be termed the neo-Mannerism of the painter John Currin, whose mastery of eclectic styles veers between eloquence and buffoonery.
	www.newyorker.com /critics/art?040308craw_artworld (1350 words)

	Guardian Unlimited \| Arts features \| Self-portrait in a Convex Mirror (c1523-24), Parmigianino
		Parmigianino was recognised as a prodigy when young; arriving in Rome with this self-portrait as a calling card, he was immediately given papal commissions.
		Vasari says Parmigianino got a woodworker to construct it to the exact dimensions of the glass he used to paint the self-portrait.
		Italian art of the 15th century was entranced by the orderly, coherent space it was possible to map on a flat canvas using single-point perspective.
	www.guardian.co.uk /arts/portrait/story/0,11109,876906,00.html (587 words)

	Cincinnati Art Museum: Virtual Tours (Site not responding. Last check: 2007-10-14)
		He was a painter, draftsman, and etcher from a family of artists who recognized his precocity as a draftsman at an early age and provided his early training.
		Parmigianino's highly individual style, with its elegant, elongated figures and sinuous line, was known through his etchings.
		In 1524 Parmigianino painted a portrait of Gian Galeazzo Sanvitale of Fontanellato, Naples.
	www.cincinnatiartmuseum.org /greatart/tour_drawings.shtml (1798 words)

	The State Hermitage Museum: Hermitage News
		Parmigianino is acclaimed as the foremost representative of mannerism, a style which was born in Italy about 1520 and then determined European art for a century.
		The second section centers around the history of perception and interpretation of Parmigianino’s art in the 16th and subsequent centuries.
		Parmigianino has been either praised or castigated, and his image has always provoked hot debate.
	www.hermitagemuseum.org /html_En/11/2003/hm11_4_136.html (385 words)

	Apollo: Parmigianino and Raphael: a note on the foreground baby from the Massacre of the Innocents
		Parmigianino had a special interest in the baby positioned at the centre foreground in the Massacre print, right arm folded across the chest and left arm stretched out to touch the kneeling mother's skirt.
		Parmigianino's drawings after the Massacre of the Innocents are ibid., no. 49 verso (Fitzwilliam Museum, Cambridge); no. 210 (British Museum), and no. 756 (Mrs Arthur Rook, London).
		Parmigianino also drew from Marcantonio Raimondi's Christ in the House of Simon, (Marcantonio's engraving is catalogued in Adam von Bartsch, Le Peintre-Graveur, Vienna, 1803-21, vol.
	www.findarticles.com /p/articles/mi_m0PAL/is_503_159/ai_112540501 (1279 words)

	Correggio and Parmigianino (Site not responding. Last check: 2007-10-14)
		Correggio and Parmigianino 971442449 970783200 London Gran Bretagna The British Museum http://www.thebritishmuseum.ac.uk 971442449.jpg 978908399 o British Museum Correggio and Parmigianino Master Draughtsmen of the Renaissance.
		As a youth, Parmigianino almost certainly worked under Correggio, and his early style was modelled on that of the older painter.
		Parmigianino was, by contrast, an artist who liked above all to draw, and the selection of almost 100 studies by him show his dazzling facility in every technique.
	www.undo.net /artinpress/970783200.971442449.html (357 words)

	Parmigianino Book from Books.co.uk (Site not responding. Last check: 2007-10-14)
		Parmigianino (1503-1540) was one of the Italian Renaissance's greatest geniuses.
		This illuminating and beautiful volume, the definitive monograph on Parmigianino, gives comparable emphasis to the public world of his paintings and to the private realm of his drawings.
		The fruit of over twenty years of research on and writing about the artist, Parmigianino is the first book that has ever seriously attempted to cover his entire oeuvre, giving equal weight to paintings, drawings and prints.
	www.books.co.uk /parmigianino/0300108273.html (246 words)

	Columbia Spectator - Tracing Parmigianino's Legacy (Site not responding. Last check: 2007-10-14)
		Parmigianino is best known for his paintings, such as the Madonna of the Long Neck and the Self-Portrait in a Convex Mirror, but the exhibition showcases his true talent as a draftsman.
		Parmigianino's stay in Rome ended abruptly with the sack of Rome in 1527 by the forces of Holy Roman Emperor Charles V. Vasari reports that when imperial soldiers came to Parmigianino's house, they found him still at work.
		Parmigianino shows off his sheer inventiveness in the drawing hanging to the right of the Huntsman, in which the artist simply lifts the arms of the huntsman figure and strips him of his costume, turning him into the mythological figure Ganymede, Zeus's cupbearer at the feasts of the gods.
	www.columbiaspectator.com /vnews/display.v/ART/2004/02/09/4027419a2f833 (825 words)

	Parmigianino. The Columbia Encyclopedia, Sixth Edition. 2001-05
		The name Parmigianino is derived from his birthplace, Parma.
		Parmigianino was in Rome for a few years, but had to flee during the sack of the city in 1527.
		Parmigianino was one of the first artists to use the technique of etching, and through this medium his style became influential in Italy and N Europe.
	www.bartleby.com /65/pa/Parmigia.html (303 words)

	Parmigianino Online
		Parmigianino at the Metropolitan Museum of Art, New York City
		Parmigianino at the National Gallery, London, UK Pinacoteca Stuard, Parma, Italy (in Italian)
		All images and text on this Parmigianino page are copyright 2007 by John Malyon/Artcyclopedia, unless otherwise noted.
	www.artcyclopedia.com /artists/parmigianino.html (383 words)

	Parmigianino Encyclopedia Article, Definition, History, Biography (Site not responding. Last check: 2007-10-14)
		Girolamo Francesco Maria Mazzola (11 January 1503- 24 August 1540), also known as Francesco Mazzola, or more famously as Parmigianino, was a painter, draftsman, and etcher of a family of artists in Parma, where he worked among other artists such as Correggio.
		Indeed, Parmigianino and all the artists of his time who deliberately sought to create something new and unexpected, even at the expense of the 'natural' beauty established by the great masters, were perhaps the first 'modern' artists.
		We shall see, indeed, that what is now called 'modern' art may have had its roots in a similar urge to avoid the obvious and achieve effects which differ from conventional natural beauty.
	www.thelocalcolorartgallery.com /encyclopedia/Parmigianino (1553 words)

	Books Art & Photography - General: The Art of Parmigianino
		This lavishly illustrated book offers a comprehensive reassessment of Parmigianino's work as a draftsman, discussing in detail more than eighty of the artist's works on paper selected from collections around the world.
		Among Renaissance artists, Parmigianino was perhaps more conscious than any of the potential of the graphic arts to convey, and indeed broadcast, complex ideas.
		He explored this potential by means of his numerous drawings and through the etchings he produced on his own as well as through the engravings and chiaroscuro that were made after his designs.
	www.tocant.com /General/The-Art-of-Parmigianino.html (227 words)

	Pallas Athene by PARMIGIANINO (Site not responding. Last check: 2007-10-14)
		Parmigianino's most important work survives in Emilia, principally in the Rocca at Fontenellato and in the church of Santa Maria della Steccata in Parma.
		He also worked in Rome (1524—27), where he painted The Vision of Saint Jerome (London, National Gallery), and at the end of his life in Casalmaggiore, where he was exiled for failing to complete the decorations in Santa Maria della Stec- cata begun in 1534.
		Pallas Athene would appear to be a late work and is comparable in style with Parmigianino's last altarpiece, The Virgin and Child with Saint Stephen and Saint John the Baptist (Dresden, Staatliche Kunstsammlungen), painted for the church of San Stefano in Casalmaggiore in 1539-40.
	gallery.euroweb.hu /html/p/parmigia/pallas_a.html (332 words)

	About Parmigianino \| Abbeville Press
		There he worked alongside other painters, including one of the great artists of the century, Correggio: Parmigianino's whole life was to be marked by a strong and troubled link with this senior master.
		Early in his career Parmigianino lived in Rome and became familiar with classical models and famous Renaissance works.
		The informative text presents the works in relation to their sources, techniques, and patrons; as a result, the author offers new attributions and revisions of the standard chronology.
	shopcdsbooks.com /Merchant2/merchant.mvc?Screen=PROD&Store_Code=ABB&Product_Code=1558598928 (388 words)

	Parmigianino on Encyclopedia.com (Site not responding. Last check: 2007-10-14)
		Parmigianino and Raphael: a note on the foreground baby from the Massacre of the Innocents.
		Quincentenery of the Birth of Parmigianino Marked by Only One Exhibition in the United States A Beautiful and Gracious Manner: The Art of Parmigianino
		Temporary bar placed on the export of a 16th-century drawing by Parmigianino.
	www.encyclopedia.com /html/P/Parmigia.asp (508 words)

	Parmigianino 2003
		Parmigianino frescoed the smallest hall for Paola Gonzaga in 1524 with scenes taken from Ovid's Fable which narrates the story of "Diana and Actaeon".
		The fable interweaves with the lives of the commissioners, investing them with symbology and alluding to esoteric themes.
		The hall has been restored by the Works at the Pietre Dure of Florence under the direction of the Service for Historical, Artistic and Demo-ethno-anthropological Heritageof Parma and Piacenza, and was handed back to the public in May 1998.
	www.parmigianino2003.it /ep40101.asp (93 words)

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