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There can be no doubt, then, that if this be madness there is method in it. The painter wanted to be unorthodox. He wanted to show that the classical solution of perfect harmony is not the only solution conceivable ... 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.
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210:. Jesus is also extremely large for a baby, and he lies precariously on Mary's lap as if about to fall at any moment. The Madonna herself is of hardly human proportions—she is almost twice the size of the angels to her right. Her right foot rests on cushions that appear to be only a few inches away from the
226:
Following a recent restoration of the painting, the unfinished face of an angel just below the
Madonna's right elbow can be seen more clearly. Also the angel in the middle of the bottom row now looks at the vase held by the angel on his right, in which can be seen the faint image of a cross. Before
198:
Instead of distributing his figures in equal pairs on both sides of the
Madonna, he crammed a jostling crowd of angels into a narrow corner, and left the other side wide open to show the tall figure of the prophet, so reduced in size through the distance that he hardly reaches the Madonna's knee.
227:
the restoration this angel looked down at the Christ child. The changes made during the restoration likely reflect the original painting, which must have been altered at some time in its history. The angel who faces the viewer has a resemblance to
Parmigianino's
214:, but the foot itself seems to project beyond it, and is thus on "our" side of the canvas, breaking the conventions of a framed picture. Her slender hands and long fingers have also led the Italian medical scientist Vito Franco of the
177:
on her lap. Six angels crowded together on the
Madonna's right adore the Christ-child. In the lower right-hand corner of the painting is an enigmatic scene, with a row of marble columns and the emaciated figure of
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because "the painter, in his eagerness to make the Holy Virgin look graceful and elegant, has given her a neck like that of a swan." On the unusual arrangement of figures, Austrian-British art historian
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182:. A depiction of St. Jerome was required by the commissioner because of the saint's connection with the adoration of the Virgin Mary.
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462:"The 'Madonna with the long neck' by Parmigianino | Artworks | Uffizi Galleries"
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149:. The painting was begun in 1534 for the funerary chapel of Francesco Tagliaferri in
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Parmigianino has distorted nature for his own artistic purposes, creating a typical
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216 cm × 132 cm (85 in × 52 in)
378:"Enigmatic smile of Leonardo da Vinci's Mona Lisa a sign of ill health"
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seated on a high pedestal in luxurious robes, holding a large baby
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to diagnose that
Parmigianino's model had the genetic disorder
153:, but remained incomplete on Parmigianino's death in 1540.
281:"Parmigianino [Mazzola, Girolamo Francesco Maria]"
157:, purchased it in 1698 and it has been on display at the
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1113:Paintings of the Madonna and Child by Parmigianino
772:Holy Family with the Infant Saint John the Baptist
127:Madonna and Long Child with Angels and St. Jerome
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1021:Portrait of Camilla Gonzaga and Her Three Sons
155:Ferdinando de' Medici, Grand Prince of Tuscany
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991:Portrait of Pier Maria Rossi di San Secondo
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293:10.1093/gao/9781884446054.article.T065539
141:, dating from c. 1535-1540 and depicting
1082:Sanctuary of Santa Maria della Steccata
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878:Madonna and Child with Saint Zechariah
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7:
916:Mystic Marriage of Saint Catherine
901:Mystic Marriage of Saint Catherine
651:Mystic Marriage of Saint Catherine
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222:affecting her connective tissue.
185:The painting is popularly called
1052:Portrait of a Man in a Red Beret
681:Self-portrait in a Convex Mirror
395:Anello, Laura (5 January 2010).
250:
35:
1087:San Giovanni Evangelista, Parma
376:Hooper, John (6 January 2010).
863:Boy with a Finger in His Mouth
627:Portrait of Galeazzo Sanvitale
397:"Il colesterolo di Monna Lisa"
113:The Madonna with the Long Neck
1:
1077:Rocca Sanvitale, Fontanellato
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946:Portrait of Cecilia Gozzadini
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612:Female Martyr with Two Angels
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643:Sanvitale Madonna and Child
358:, Hamlyn Publishing, 1986.
287:. Oxford University Press.
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1006:Madonna with the Long Neck
552:Adoration of the Shepherds
22:Madonna with the Long Neck
749:The Conversion of St Paul
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169:The painting depicts the
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1044:Casalmaggiore Altarpiece
847:Santa Margherita Madonna
635:Portrait of Lorenzo Cybo
431:Madonna of the Long Neck
258:Madonna of the Long Neck
187:Madonna of the Long Neck
16:Painting by Parmigianino
1123:Paintings in the Uffizi
696:Holy Family with Angels
666:Portrait of a Collector
122:Madonna dal collo lungo
29:Madonna dal collo lungo
741:Vision of Saint Jerome
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121:
1092:San Petronio, Bologna
802:Adoration of the Magi
343:, E.H. Gombrich. 1950
216:University of Palermo
1143:Unfinished paintings
976:Cupid Making His Bow
726:Nativity with Angels
1133:Mannerist paintings
1128:Paintings of Jerome
855:Madonna of the Rose
279:Ekserdjian, David.
208:figura serpentinata
817:Man Holding a Book
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931:Portrait of a Man
832:Kedleston Madonna
522:Baptism of Christ
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143:Madonna and Child
137:oil painting by
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405:. Archived from
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356:100 Masterpieces
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316:. Archived from
314:"Virtual Uffizi"
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466:www.uffizi.it
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320:on 2012-11-13
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507:Parmigianino
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444:. Retrieved
441:Khan Academy
437:Smarthistory
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411:. Retrieved
407:the original
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390:
382:The Guardian
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322:. Retrieved
318:the original
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296:. Retrieved
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263:Smarthistory
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161:since 1948.
139:Parmigianino
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51:Parmigianino
28:
1062:; disputed)
1060: 1540
1029: 1539
1014: 1535
999: 1535
984: 1533
969: 1535
954: 1530
939: 1530
924: 1529
909: 1529
886: 1530
871: 1530
850:(1529–1530)
840: 1529
825: 1529
810: 1529
795: 1528
780: 1528
765: 1527
744:(1526–1527)
734: 1525
719: 1525
704: 1524
689: 1524
674: 1524
659: 1524
620: 1523
605: 1523
590: 1523
575: 1521
560: 1521
545: 1521
530: 1519
446:January 27,
171:Virgin Mary
165:Description
1107:Categories
787:Saint Roch
324:2010-01-08
298:25 January
238:References
180:St. Jerome
88:Dimensions
919:(Louvre;
904:(London;
514:Paintings
413:7 January
402:La Stampa
233:portrait.
205:Mannerist
135:Mannerist
82:Mannerism
27:Italian:
1036:Lucretia
654:(Parma;
567:Nativity
194:writes:
130:, is an
104:Florence
96:Location
77:Movement
1070:Related
132:Italian
118:Italian
71:on wood
60:1535-40
1047:(1540)
1039:(1540)
1016:–1540)
1001:–1538)
986:–1535)
896:(1533)
888:–1533)
858:(1530)
767:–1528)
752:(1527)
638:(1524)
630:(1524)
622:–1524)
577:–1522)
562:–1522)
362:
159:Uffizi
147:angels
100:Uffizi
47:Artist
961:Antea
230:Antea
175:Jesus
151:Parma
145:with
448:2013
415:2010
360:ISBN
300:2022
65:Type
57:Year
439:at
289:doi
69:Oil
1109::
1057:c.
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348:^
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
