By Dr. Andrea da Montefeltro
In a grand commemoration of the 500th birth anniversary of the renowned artist Girolamo Francesco Maria Mazzola (1503 – 1540), better known as Parmigianino, Bologna became the epicenter of art and history. The city hosted the “Respice Finem” International Conference, a prestigious event sponsored by the Municipality.
Amid the gathering of esteemed institutions and dignitaries, a significant revelation took center stage: an unpublished drawing, measuring 18.9 cm by 17.7 cm, depicting a holy family. This masterpiece, hailing from the esteemed collection of Emile Calando, was presented by a prominent Bolognese company. Notably, this drawing had once shared a space with works by titans like Michelangelo and Raphael and was now speculated to be a rare gem from Parmigianino’s early Roman period, reflecting clear Mannerist undertones.
Experts and researchers immersed themselves in discussions and studies around this newfound treasure. Maria Cecilia Visentin, a revered professor of art history, and Lucica Bianchi provided insights into the life and artistic journey of Parmigianino. Annalisa Di Maria, an international authority on Leonardo da Vinci and the Italian Renaissance, delved deep into the stylistic nuances of the drawing, suggesting a profound influence of Raphael’s artistry.
“The drawing was executed with mixed media on virgin linen paper and has many symbolic aspects typical of Parmigianino’s painting,” remarked Di Maria. She further highlighted the intricate details, particularly the hands, as pivotal in identifying the artist’s touch.
The drawing’s symbolism was undeniable, echoing Parmigianino’s tumultuous life, where his dedication to alchemical pursuits often eclipsed his artistry, a narrative eerily reminiscent of contemporary psychological introspections.
The morning also witnessed the conferral of the prestigious international award “Leonardo The Immortal Light” to the University of Bologna – Alma Mater Studiorum, recognizing its unparalleled commitment to education and cultural research. Another accolade celebrated the secular order of Dei Servi Di Maria, patrons who had historically championed renowned Italian artists, including the celebrated Parmigianino.
In conclusion, the drawing, with its alchemical undertones and distinctive Mannerist style, not only reaffirms Parmigianino’s genius but also rekindles the allure and mystique of a bygone era in the heart of Bologna.
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