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A portrait of Saint Barbara in profile on a black background. In her hands, she holds a tower, which was her symbol. A third-century Christian martyr, Saint Barbara was shut up in a tower and later decapitated by her father, Dioscoro, as punishment for neither marrying nor professing paganism. She is generally depicted with a sword and the palm leaf of martyrdom, as well as her tower. Here, howeve
When Parmigianino left his native city of Parma to move to Rome in 1524 he took this painting with him and presented it to Pope Clement VII. This is the artist´s first mature work and one that already reveals the grace that Vasari considered the greatest aesthetic quality of any painting: a gift of nature impossible to learn, combining beauty, delicacy and sweetness.
Camilla Gonzaga, daughter of Giovanni Gonzaga and cousin of Federigo II of Mantua, married Pier Maria de Rossi in 1523, with whom she had nine children. The children depicted in the present work are presumably the three eldest:Troilo, the eldest, who succeeded his father, standing next to the youngest of the three, Sigismondo, with Ippolito, the second eldest, on the other side. This is thought to
Educated as a young man in France and Florence, in 1527 Pier Maria Rossi (1504-1547), Seventh Count of San Secondo, was in the service of Clement VII but that same year entered the employment of Charles V. Vasari recounts that Parmigianino (to whom this work has been unanimously attributed following its restoration) escaped from Parma to San Secondo in around 1538 in order to avoid problems relati
As he is painted here, Eros is mischievous. Praxiteles, as far as we know, first represented him in a sculpture, around 370-60 BCE; he showed him nude in his sleep, and another time standing, with a bow in his left hand. Lysippos also represented him standing, preparing his bow. It was the great Euripides, in the fifth century BCE, who first mentioned Eros’s bow in Iphigenia at Aulis: "[Eros] gold
Traditionally placed in the collection as Michelangelo. This identification of the drawing seems to go back as far as the eighteenth century, when the Martelli family of Florence apparently kept it together with their drawings by Michelangelo and his circle. According to the old Martelli inventory numbers, a sheet of red chalk studies attributed to Michelangelo ´s pupil Antonio Mini was kept as th
Traditionally identified as the work of Parmigianino, this drawing must have been an important icon in both Brun´s (?) and Fernández Durán´s collections on account of Carderera´s previous owner ship of it. This drawing of Circe is connected with Parmigianino´s well-known in the mid-1520s, which was published soon after as a chiaroscuro woodcut. In the finished work, the temptress dri
Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. Esta estampa se entregaba con el cuadernillo LXXXVII e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento
Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. Esta estampa se entregaba con el cuadernillo LXXXVII e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento
Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. Esta estampa se entregaba con el cuadernillo LXXXVII e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento
Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. Esta estampa se entregaba con el cuadernillo LXXXVII e iba acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie editada por el Real Establecimiento
Es una litografía de Augusto Giuglielmi que reproduce el lienzo de Parmigianino y su taller (P00280). La atribución de la pintura original a Bronzino que aparece en la firma de la estampa, es errónea. Esta estampa se entregaba con el cuadernillo LXXXVII acompañado de un texto explicativo de José Musso y Valiente. Está encuadernada en el tomo II de la serie dirigida por José de Madrazo, Colección l
