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Saint Barbara
Oil on panel. Ca. 1522
Parmigianino. Girolamo Francesco Maria Mazzola
Saint Barbara
Oil on panel. Ca. 1522
Parmigianino. Girolamo Francesco Maria Mazzola

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 de [+]

The Holy Family with Angels
Oil on panel. Ca. 1524
Parmigianino. Girolamo Francesco Maria Mazzola
The Holy Family with Angels
Oil on panel. Ca. 1524
Parmigianino. Girolamo Francesco Maria Mazzola

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 [+]

Camilla Gonzaga, Countess of San Secondo, and her Sons
Oil on panel. 1535 - 1537
Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop)
Camilla Gonzaga, Countess of San Secondo, and her Sons
Oil on panel. 1535 - 1537
Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop)

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 p [+]

Pietro Maria Rossi, Count of San Secondo
Oil on panel. 1535 - 1538
Parmigianino. Girolamo Francesco Maria Mazzola
Pietro Maria Rossi, Count of San Secondo
Oil on panel. 1535 - 1538
Parmigianino. Girolamo Francesco Maria Mazzola

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 Charl [+]

Head of a bearded man looking upwards to the left
Red chalk on yellow paper. First third of the XVI century
Parmigianino. Girolamo Francesco Maria Mazzola (Attributed To)
Head of a bearded man looking upwards to the left
Red chalk on yellow paper. First third of the XVI century
Parmigianino. Girolamo Francesco Maria Mazzola (Attributed To)

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 to [+]

Circe
Pencil, Grey-brown ink on yellow paper. First half of the XVI century
Parmigianino. Girolamo Francesco Maria Mazzola (Attributed To)
Circe
Pencil, Grey-brown ink on yellow paper. First half of the XVI century
Parmigianino. Girolamo Francesco Maria Mazzola (Attributed To)

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 previou [+]

Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto -Lithographer- (The Original Work, According To Inscriptions, Attributed To Bronzino (Agnolo Di Cosimo)); Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto -Lithographer- (The Original Work, According To Inscriptions, Attributed To Bronzino (Agnolo Di Cosimo)); Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

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. [+]

Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto -Lithographer- (The Original Work, According To Inscriptions, Attributed To Bronzino (Agnolo Di Cosimo)); Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Printing on japon, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto -Lithographer- (The Original Work, According To Inscriptions, Attributed To Bronzino (Agnolo Di Cosimo)); Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

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. [+]

Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto -Lithographer- (The Original Work, According To Inscriptions, Attributed To Bronzino (Agnolo Di Cosimo)); Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto -Lithographer- (The Original Work, According To Inscriptions, Attributed To Bronzino (Agnolo Di Cosimo)); Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

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. [+]

Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto -Lithographer- (The Original Work, According To Inscriptions, Attributed To Bronzino (Agnolo Di Cosimo)); Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto -Lithographer- (The Original Work, According To Inscriptions, Attributed To Bronzino (Agnolo Di Cosimo)); Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

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. [+]

Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto -Lithographer- (The Original Work, According To Inscriptions, Attributed To Bronzino (Agnolo Di Cosimo)); Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid
Camilla Gonzaga, Countess of San Segundo, and her Sons
Crayon lithography, Scraper, Lithographic aquatint on wove paper. 1829 - 1832
Guglielmi, Augusto -Lithographer- (The Original Work, According To Inscriptions, Attributed To Bronzino (Agnolo Di Cosimo)); Parmigianino. Girolamo Francesco Maria Mazzola (And Workshop); Madrazo y Agudo, José de; Real Establecimiento Litográfico de Madrid

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. [+]

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