“Exploring the Artistic Mastery of Parmigianino”
### Parmigianino: The Vision of Saint Jerome – A Masterpiece of the Mannerist Movement
#### Rediscovering a Renaissance Genius
Parmigianino, the enigmatic “little one from Parma,” remains one of the most fascinating figures of the Italian Renaissance. Renowned for his innovative style that defined the Mannerist movement, Parmigianino’s works transcend artistic conventions, blending sacred themes with a provocative sensuality. One of his most captivating creations, *The Vision of Saint Jerome*—also called *Madonna and Child with Saints John the Baptist and Jerome*—is now the centerpiece of a compelling exhibition at the National Gallery in London. This restored work, accompanied by preparatory drawings that reveal Parmigianino’s meticulous process, offers a window into the artist’s visionary genius and the tumultuous world in which he lived.
#### A Prodigy from Parma
Born Francesco Mazzola, Parmigianino earned his nickname early in life, indicating his youthful brilliance and ties to Parma, his hometown. By 1524, and still in his early twenties, Parmigianino had embarked on a bold journey to Rome, carrying with him several artworks that he hoped would establish his reputation. Among them was his iconic *Self-Portrait in a Convex Mirror*, a striking reflection of his technical inventiveness. This “calling card” painting was accompanied by religious masterpieces that spoke to his spiritual depth and ambitions.
In Rome, Parmigianino’s arrival coincided with the city’s vibrant cultural and artistic scene, where titans like Michelangelo and Raphael had left indelible marks. Yet Parmigianino charted his unique path. His elegant distortion and elongation of forms, paired with unprecedented psychological depth, quickly set him apart as an artistic trailblazer.
#### *The Vision of Saint Jerome*: A Journey in Awe and Impact
At the heart of the National Gallery exhibition lies *The Vision of Saint Jerome*. Commissioned by Maria Bufalini, a widow from a noble Roman family, the painting was crafted to honor her late husband with an altarpiece for his burial chapel in the church of San Salvatore in Lauro. The unusual dimensions of the painting—extremely tall and narrow—create an almost spiritual tension, compelling viewers to “climb” the painting as though ascending a sacred mountain.
The composition, curated with theatrical flair, conjures an ethereal and otherworldly experience. We see Saint Jerome sprawled in repose at the bottom of the painting, his aged face and youthful body shrouded in mysterious symbolism. Above him is the Virgin Mary, elevated on clouds alongside a mature and self-assured Christ child. Linked to these figures is a dynamic Saint John the Baptist, whose muscular pose and intense gaze heighten the drama. Light and movement interplay throughout, evoking the celestial and earthly realms in delicate balance.
The Virgin’s serene modesty and the Christ child’s vivacious, almost playful stance contrast strikingly, reflecting Parmigianino’s hallmark ability to intertwine the sacred and the sensual. Critics and historians have long noted the erotic undercurrents of Parmigianino’s work, a characteristic that resonates with the bolder and more experimental ethos of Mannerism.
#### The Drama Behind the Art
The exhibition is not only a tribute to this magnificent painting but also a narrative of survival and artistic resilience. In May 1527, Rome was violently sacked by the armies of Charles V, bringing devastation to the city and its inhabitants. Parmigianino was caught in the chaos, but his biographer Giorgio Vasari recounts how his studio was spared by soldiers who were awestruck by his works’ brilliance. This act of reverence—or perhaps sheer intimidation—underscores the transformative nature of art, capable of deterring even destruction.
The exhibition features nine preparatory drawings for *The Vision of Saint Jerome*, many of which unveil Parmigianino’s approach to mastering figures, drapery, and light. Each sketch illuminates the frenetic energy with which he worked, perfecting every gesture and gaze with relentless focus. The drawings, alongside the completed painting, create a dialogue between process and perfection, offering visitors a rare glimpse of Mannerist innovation in action.
#### Beyond the Sacred: A Duality of the Divine and the Erotic
*A Vision of Saint Jerome* teeters between the divine and the earthly, the spiritual and the sensual. Parmigianino’s artistic bravado allowed him to stretch beyond the conventional confines of religious iconography. The Christ child’s mature and confident gaze, the Virgin’s poised demeanor, and the dramatic muscularity of Saint John the Baptist showcase a mastery not only of anatomy but also of emotional resonance.
The sensuality present in the painting—a hallmark of Mannerist art—reflects the cultural landscape of 1520s Rome. The openness to exploring the human condition and interplay between the sacred and the profane spoke to