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PARMIGIANINO
Self-portrait in a Convex Mirror a
c. 1524
Oil on wood, diameter 24,4 cm
Kunsthistorisches Museum, Vienna
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PARMIGIANINO
Cupid af
1523-24
Oil on wood, 135 x 65,3 cm
Kunsthistorisches Museum, Vienna
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PARMIGIANINO
Rest on the Flight to Egypt ag
1524
Oil on panel, 110 x 89 cm
Museo del Prado, Madrid
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PARMIGIANINO
Madonna dal Collo Lungo (Madonna with Long Neck) ga
1534-40
Oil on panel, 216 x 132 cm
Galleria degli Uffizi, Florence
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PARMIGIANINO
Madonna and Child sg
c. 1525
Oil on panel (arched), 58,8 x 34,1 cm
Galleria Doria-Pamphili, Rome
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PARMIGIANINO
Pallas Athene af
c. 1539
Oil on canvas, 63,8 x 45,1 cm
Royal Collection, Windsor
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PARMIGIANINO
Portrait of a Man ag
1528-30
Oil on canvas
Galleria Borghese, Rome
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PARMIGIANINO
Madonna of t he Long Neck (mk08)
C.1534-1540
Oil on wood,
216x132cm
Florence,Galleria degli Uffizi
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PARMIGIANINO
Self-Portrait
mk52
1523
Oil on wood,diameter
24.4cm
Kunsthistorisches Museum,Vienna
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PARMIGIANINO
Portrait of the Countess of Sansecodo and Three Children
mk61
c.1533-1535
Oil on panel
128x97cm
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PARMIGIANINO
Madonna of St.Zachary
mk67
Oil on panel
29 3/4x23 5/8in
Uffizi,Gallery
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PARMIGIANINO
Madonna of the Long Neck
mk67
Oil on panel
86 1/4x53 1/8in
Uffizi,Gallery
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PARMIGIANINO
Portrait of a Man
mk67
Oil on panel
34 5/8x23 15/26in
Uffizi,Gallery
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PARMIGIANINO
Portrait of a Young Woman
mk68
Oil on wood
26 1/2x21"
Parma,Nationa Museum
C.1530
Italy
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PARMIGIANINO
Self-portrait in a Convex Mirror
nn07
c. 1524
Oil on wood, diameter 24,4 cm
Kunsthistorisches Museum, Vienna
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PARMIGIANINO
The Conversion of St Paul
nn07
Oil on canvas, 177,5 x 128,5 cm
Kunsthistorisches Museum, Vienna
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PARMIGIANINO
The Vision of St Jerome
1527
Oil on wood, 343 x 149 cm
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PARMIGIANINO
Recreation by our Gallery
mk79
1535-1537
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PARMIGIANINO
Madonna of the Long Neck
mk86
c.1534-1540
Oil on wood
216x132cm
Florence,Galleria degli Uffizi
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PARMIGIANINO
The Entombment
mk91
ca.1523
Oil on canvas
transferred from a panel
32x26.5
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| PARMIGIANINO
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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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