1,721,050 research outputs found
Con Parmigianino a Viadana: Gerolamo Bedoli (1508? – 1569) nella bottega dei Mazzola
No full textThe essay speaks about the beginnings of Gerolamo Bedoli in the atelier
of the Mazzolas, parallel to the activity of Parmigianino between the
years 1520 and 1521, suggesting a datebirth for Bedoli different from
the year 1500.
In the essay, first, the juvenile paintings of Parmigianino are taken into
consideration with particular attention to a Marriage of the Virgin of the
Parma National Gallery and to three fresco fragments kept in Lovere.
Then, after observing that there is no news of any works by Bedoli before
the year 1531, the author dwells upon the painters of the Mazzola
family (Filippo, Pierilario, Michele, Zaccaria and Francesco) and analyzes
the family atellier, founded by Filippo Mazzola, the adopted child of
painter Francesco Tacconi and the pupil in Venice of Giovanni Bellini.
When Filippo dies, the atelier goes to his brother Pierilario who eventually
adopts his orphan nephews Zaccaria and Francesco. As a tutor,
Pierilario signs the contracts with Parmigianino until he is under age
but he also signs the contracts with Bedoli until 1533. Thus if Bedoli
was under age in 1533 and was referred to by Vasari as a “putto” when
he was in Viadana, between 1521 and 1522, then his birthdate will not
be 1500 but 1508, and consequently in 1521 he was a just a boy entering,
as an apprentice, the atelier of the Mazzolas
Michelangelo Anselmi
No full textMichelangelo Anselmi, figura spesso fraintesa e addirittura confusa da ben due casi di omonimia è il terzo importante pittore dell'epoca in cui operarono in contemporanea a Parma Correggio e Parmigianino. Attraverso l'analisi stilistica e iconografica delle sue opere e grazie a una corretta lettura documentaria, il libro vuole ridiscutere la tradizione errata che riteneva Michelangelo Anselmi un pittore di origini senesi. A quarant'anni di distanza dall'unica monografia esistente sull'artista, il libro di Elisabetta Fadda analizza il panorama pittorico emiliano e riordina il catalogo di uno dei pittori più affascinanti dellla pittura parmense del Cinquecento
Un'opera perduta di Michelangelo Anselmi: la Cappella della Croce in San Pietro Martire a Parma
No full textUna descrizione della Cappella della Croce redatta dall'architetto Bettoli in vista della demolizione della chiesa di San Pietro martire a Parma consente di riostruire attraverso una serie di disegni il soggetto degli affreshi realizzati da Michelangelo Anselmi
La stanza delle Ninfe e la stanza di Danae: un bagno gonzaghesco per Parmigianino e per Correggio
No full textCorreggio, Anselmi e Rondani: firme d’artista nella Scuola di Parma
Full text linkAntonius Laetus, Hirundo: these are the latinized signatures of Antonio Allegri called Correggio and his assistant from Parma
Francesco Maria Rondani. Michelangelo Anselmi instead, signed one of his altarpiece with a cabalistic writing method. That was one
of the encrypted alphabet used by Cornelio Agrippa. According to previous studies, often the artist name matches with his portrait.
On the contrary this essay analyzes signatures, words and their variant spelling as a signifiant, as images translating a message, in the
same way as in a calligram or a rebus
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