Oldal kiválasztása

cat060 (Parmigianino 1883)


Studies for Lucretia, Proserpina, and Mercury

c. 1535−38
Pen and wash in brown ink, heightened
188 × 96 mm
Museum of Fine Arts, Budapest 1883




The drawing was inspired by Marcantonio Raimondi’s engraving of Lucretia that Parmigianino transformed into an elegant slim figure. For the Roman heroine’s right arm grasping a dagger, he drew a small detail study at top of the sheet, based on a live model holding a staff. The work was intended for Parmigianino’s lost painting representing the suicide of Lucretia.

cat058 (Caraglio 46019)

Jacopo Caraglio
(c. 1500/5–1565)

The Martyrdom of Two Saints

c. 1527
Engraving, 258 × 451 mm
Museum of Fine Arts, Budapest 46019
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Jacopo Caraglio was the only engraver with whom Parmigianino cooperated in Rome. The Martyrdom of Saints Peter and Paul is one of the four prints that we owe to their collaboration, whose success encouraged Parmigianino to produce its woodcut version later in Bologna with Antonio da Trento. The composition combining two scenes was inspired by Marcantonio Raimondi’s Martyrdom of Saint Cecilia, from which Parmigianino not only borrowed many details but the two engravings are also of almost identical size.

cat056 (Parmigianino 1888)


Study for a Group

c. 1525−27
Pen and wash in brown ink, over black chalk, heightened
143 × 161 mm
Museum of Fine  1888




Although no commisions for frescoes from Parmigianino’s Roman years are documented, many compositional drawings by the artist have survived specifically for wall paintings. On the Budapest sheet he developed a detail of a large composition, perhaps a scene from the lives of the apostles. The painter, inexperienced in large-scale compositions, turned to the Vatican frescoes of his exemplar, Raphael.

cat055 (Parmigianino 1893)


Compositional Study with the Life of the Virgin

c. 1524−27
Pen and wash in grey ink
191 × 129 mm
Museum of Fine Arts, Budapest 1893




The masterly pen drawing was inspired by Marcantonio Raimondi’s famous engraving the Quos Ego. However, Parmigianino borrowed only its peculiar structure, and replaced the classical theme with scenes from the life of the Virgin. The drawing may have served as a study for a painted or engraved frontispiece of a book, or for a goldsmith’s work, but it is also possible that Parmigianino had no specific aim and intended it simply as a compositional study.



cat047 (Parmigianino 6286)

After Raphael

Sts Peter and John Healing a Lame Man

c. 1524−30
Etching and chiaroscuro woodcut, 268 × 401 mm
Museum of Fine Arts, Budapest 6286
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Despite the technical novelties, this is Parmigianino’s most conservative composition, inspired by one of Raphael’s drawings for the tapestries intended for the Sistine Chapel. By the unusual combination of etching and woodcut, Parmigianino evoked the effects of washed pen drawings. The etching was executed by Parmigianino himself, but the cutting of the woodblocks required a skilled craftsman.

cat007 (Parmigianino 6291)


Sleeping Cupid

c. 1524−30
Etching and engraving
65 × 100 mm
Museum of Fine Arts, Budapest 6291


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Parmigianino not only cooperated with the most eminent printmakers of the period, but was the first Italian painter making etchings himself. The Sleeping Cupid is a free interpretation of the slain child in the foreground of The Massacre of the Innocents by Marcantonio Raimondi and Raphael. It was one of Parmigianino’s first etchings in which he experimented with the possibilities of the technique.