Bishop Saint in Bust-Length (Cartoon for an Altarpiece)
Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503–1540 Casalmaggiore)
Brush and brown wash over black chalk
28-1/4 x 16-1/16 in. (71.8 x 40.8 cm)
Van Day Truex Fund, 1995
Not on view
This boldly executed drawing is the only extant cartoon (full-scale drawing) on a monumental scale that can be definitively assigned to Parmigianino. One of the great masters of Italian Mannerism, Parmigianino was born and trained in Parma and worked in Rome and Bologna in the 1520s before returning to his native city. In size and design, the present drawing is close to the broadly painted bishop saint praying at left in the artist’s Madonna of Saint Margaret, originally painted in 1529–30 for the convent church of Santa Margherita, Bologna, and now in the local Pinacoteca Nazionale. Here, Parmigianino’s rapid brushwork with wash is similar to that in his mature oil paintings. The motif of the flamelike praying hands lit from below is among the most distinctive of his stylistic devices. (Carmen C. Bambach, 2001, revised 2014)
Vendor: Hazlitt, Gooden & Fox (London)
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," November 27, 1995–February 25, 1996.
British Museum, London. "Correggio and Parmigianino: Master Draughtsmen of the Renaissance," October 6, 2000–January 7, 2001.
The Metropolitan Museum of Art. "Correggio and Parmigianino Master Draughtsmen of the Renaissance," February 5, 2001–May 6, 2001.
The Metropolitan Museum of Art. "The Philippe de Montebello Years: Curators Celebrate Three Decades of Acquisitions," October 24, 2008–February 1, 2009.
The Metropolitan Museum of Art. "Drawings and Prints: Selections from the Permanent Collection," August 27, 2013–November 18, 2013.
Carmen C. Bambach, Suzanne Boorsch, Nadine Orenstein, Carolyn Logan, Perrin Stein "Recent Acquisitions, A Selection: 1995-1996." in The Metropolitan Museum of Art Bulletin. The Metropolitan Museum of Art, vol. 54, no. 2, Autumn 1996, (entry by Carmen C. Bambach), p. 24, ill.
Carmen C. Bambach Drawing and Painting in the Italian Renaissance Workshop: Theory and Practice, 1300-1600. New York and Cambridge, 1999, fig. no. 51, pp. 55 (n. 393).
Sylvie Béguin, Mario Di Giampaolo, Mary Vaccaro Parmigianino: The Drawings. Turin, 2000, pp. 210, 250, no. 116, ill.
Carmen C. Bambach, Martin Clayton, George R. Goldner, Hugo Chapman Correggio and Parmigianino: Master Draughtsmen of the Renaissance. Exh. cat., The British Museum, London, and The Metropolitan Museum of Art, New York. London, 2000-2001, pp. 149-50, no. 99, pl. 99 (entry by Carmen C. Bambach).
Carmen C. Bambach Renaissance Drawings: Material and Function Heilbrunn Timeline of Art History. New York, October 2002.
Achim Gnann Parmigianino: Die Zeichnungen. 2 Vols., Petersberg, Germany, 2007, cat. no. 664, fig. no. 664, p. 457, ill.
Carmen C. Bambach "Disegno, pittura e l'ideale del "ben finito cartone"." Il Primato del Disegno. I disegni dei grandi maestri a confronto con i dipinti della Pinacoteca di Brera: dai Primitivi a Modigliani. Ed. by Sandrina Bandera, Exh. cat. Pinacoteca di Brera, Milan, 2015, p. 23, note 54, fig. 8.
Artist: Imitator of Parmigianino (Girolamo Francesco Maria Mazzola) (Italian, Parma 1503–1540 Casalmaggiore)Date: 16th centuryMedium: Pen and brown ink, over black chalk, on yellow-brown paperAccession: 60.66.15On view in:Not on view