This painting is one of Parmigianino's more controversial works and has been analyzed by many critics. Six angels crowded together on the Madonna's right adore the Christ-child. After completing his first commissions in Parma, Parmigianino finished his training in Rome, where he studied the works of Michelangelo and Raphael. Many have questioned the unorthodox method that Parmigianino used to set and create the scene in Madonna with the Long Neck. The changes made during the restoration likely reflect the original painting, which must have been altered at some time in its history. The lavish, inviting image of the Madonna, combined with crowd of Angels in various states of undress has led some critics to believe that Parmigianino was trying to eroticize the scene.An oversized Christ child is splayed across the Madonna's lap. A Virgin with a statuesque figure reminiscent of Michelangelo, but with unnaturally elongated forms, contemplates the Divine Infant, who is asleep on her lap. Depictions of the Madonna and child were a very popular art form during the Renaissance. In the commissioning contract, the artist undertook to finish the painting in five months, but when he died in 1540, the altarpiece was in his study, still unfinished.  Her right foot rests on cushions that appear to be only a few inches away from the picture plane, but the foot itself seems to project beyond it, and is thus on "our" side of the canvas, breaking the conventions of a framed picture. lukisan madonna with the long neck ketertarikan di bidang seni dan budaya antik klasik.  Her slender hands and long fingers have also led the Italian medical scientist Vito Franco of the University of Palermo to diagnose that Parmigianino's model had the genetic disorder Marfan syndrome affecting her connective tissue. Parmigianino: The Paintings. , Following a recent restoration of the painting, the unfinished face of an angel just below the Madonna's right elbow can be seen more clearly. To the left of the picture are four angels crowded around the Madonna, looking admiringly on Christ.On the right are a row of marble columns and the disproportionally small figure of St. Jerome.
Madonna with the Long Neck is typical of Parmigianino's later work, which was defined by unusual spatial compositions and elongated figures.
He was commissioned to paint the Madonna with the long neck in 1534 by Elena Baiardi Tagliaferri for the church of Santa Maria dei Servi in Parma. " On the unusual arrangement of figures, Austrian-British art historian E. H. Gombrich writes: Instead of distributing his figures in equal pairs on both sides of the Madonna, he crammed a jostling crowd of angels into a narrow corner, and left the other side wide open to show the tall figure of the prophet, so reduced in size through the distance that he hardly reaches the Madonna's knee. He was commissioned to paint the Madonna with the long neck in 1534 by Elena Baiardi Tagliaferri for the church of Santa Maria dei Servi in Parma. He wanted to create something new and push the boundaries of how the theme had usually been portrayed by classical artists.It was this daring streak that paved the way for other bold artists to continue in the same vein and therefore it is no wonder that contemporary art critics christened Parmigianino the 'Prince of Mannerism'.Parmigianino did incorporate the grace of Raphael and the great masters into his paintings, but he also created some highly original work. Waspada, Ini Cara Virus Corona Masuk ke Dalam Tubuh. The Angel's leg in the foreground is glossy and suggestive, whilst the prophet, holding up his scroll, looks emancipated and gaunt. The painting depicts the Virgin Mary seated on a high pedestal in luxurious robes, holding a large baby Jesus on her lap. He wanted to show that the classical solution of perfect harmony is not the only solution conceivable ... Parmigianino and all the artists of his time who deliberately sought to create something new and unexpected, even at the expense of the 'natural' beauty established by the great masters, were perhaps the first 'modern' artists. Other articles where Madonna of the Long Neck is discussed: Parmigianino: …this last period being the Madonna of the Long Neck (1534) and the frescoes on the vault preceding the apse of Sta. The Madonna with the Long Neck (Italian: Madonna dal collo lungo), also known as Madonna and Child with Angels and St. Jerome, is an Italian Mannerist oil painting by Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. Karya seni rupa pada zaman ini memiliki ciri khas, yaitu, Keterikatan atas … Even the architecture surrounding the Madonna looks to be out of proportion, with the strange sized column which looks to have no base or supporting structures behind it. Twentieth-Century Poetry and the Visual Arts, 2008 • Vaccaro, Mary. Greenwood Press, 1971 • Gombrich, E. H. The Story of Art. The robes she is wearing are luxurious and flowing.Parmigianino has stretched and lengthened bodily parts in the painting in a strange and impulsive way. It was a style that was notable for its spatial incongruity and elongated forms.
It lasted until around 1580 with the emergence of the Baroque style. The angel who faces the viewer has a resemblance to Parmigianino's Antea portrait.
terhadap rasionalisasi As such he was always going to receive disapproval from those that disliked his ambiguous spatial compositions and elongated figures, especially in his religious work. The Madonna with the Long Neck (Italian: Madonna dal collo lungo), also known as Madonna and Child with Angels and St. Jerome, is an Italian Mannerist oil painting by Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. The painting is also known as Madonna and Child with Angels and St Jerome but earned the name Madonna with the Long Neck because of the curious length of the Madonna's swan-like neck. The Italian Renaissance: The Essential Readings (Blackwell Essential Readings in History), 2002 • Freedberg, Sydney. Madonna with the Long Neck is typical of Parmigianino's later work, which was defined by unusual spatial compositions and elongated figures. London : Phaidon Press, Ltd. , 1995 • Loizeaux, Elizabeth Bergmann. Although depicting a sacred theme, the artist does not forgo the typical sensuality of his artistic production: the figures with elongated limbs and refined poses, interpreted with sophisticated elegance, are permeated by a subtle eroticism, perceivable in the drapery clinging to the Virgin’s body, highlighting her curves, in the slender hand lifted to the breast, in the litheness of the naked leg of the young angel in the foreground. Some of his artworks seem to be fixated by a sense of distortion, and as with many other mannerist artists his work exaggerates the ideal beauty depicted by Raphael and other eminent Renaissance artists. The way his arm is hanging freely down is also a pose suggestive of death, adding to the sense of ambiguity surrounding the painting.Spatial distances: Instead of giving a sense of equilibrium and balance to his arrangement, Parmigianino has chosen to pack all the angels claustrophobically to the left of the Madonna. Also the angel in the middle of the bottom row now looks at the vase held by the angel on his right, in which can be seen the faint image of a cross.
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