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PARMIGIANINO
Self-Portrait in a convex mirror
mk150
1540
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PARMIGIANINO
The Conversion of Paul
mk150
c.1530
Canvas
177.5x128.5cm
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PARMIGIANINO
Self-Portrait in a Convex Mirror
mk156
c.1523-24
Oil on wood
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PARMIGIANINO
Turkish Slave
mk156
1530-31
Oil on wood
67x53cm
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PARMIGIANINO
Madonna with Long Neck
mk156
c.1535
Oil on wood
216x132cm
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PARMIGIANINO
The Madonna of the long neck
mk1534
I Wave on board of wood 219x135cm
Uffizi, Florence
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PARMIGIANINO
Madonna with the long neck
MK169
ca. 1535 Panel ca.216x132cm Uffizi, Florence
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PARMIGIANINO
Portrait of A man
mk170
circa 1523
Oil on wood
89.5x63.8cm
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PARMIGIANINO
The Mystic Marriage of Saint Catherine
mk170
1525-1527
Oil on wood
74.2x57.2cm
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PARMIGIANINO
Madonna of the Long Neck
mk176
1534-40
panel
85x52
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PARMIGIANINO
The Conversion of St Paul - Oil on canvas
177,5 x 128,5 cm Kunsthistorisches Museum, Vienna Artist: PARMIGIANINO Painting Title: The Conversion of St Paul , 1501-1550 Painting Style: Italian , , religious
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PARMIGIANINO
turkish slave girl
1530
parma, national gallery
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PARMIGIANINO
Mystic Marriage of Saint Catherine
Medium Oil on wood
Dimensions Expression error: Missing operand for *74.2 ?? 57.2 cm
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PARMIGIANINO
Madonna with Long Neck
1534 - 1540
Oil on panel
216 ?? 132 cm
cjr
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PARMIGIANINO
Pallas Athene
c. 1539
Oil on canvas
63,8 x 45,1 cm
cjr
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PARMIGIANINO
Virgin and Child
1525(1525) and 1527(1527)
Medium Oil on panel
cjr
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PARMIGIANINO
The Mystic Marriage of St Catherine
Date ca. 1527(1527)
Medium Oil on wood
Dimensions Height: 21 cm (8.3 in). Width: 27 cm (10.6 in).
cjr
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PARMIGIANINO
Portrait of a Youth
1520s
Medium oil on panel
cyf
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PARMIGIANINO
Thronende Madonna, Hl. Zacharias, Hl. Johannes der Taufer und Hl. Maria Magdalena
c. 1530
Medium oil on panel
cjr
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PARMIGIANINO
Madonna mit dem langen Hals
1534-1540
Medium oil on panel
Dimensions Deutsch: 216 X 132 cm
cjr
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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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