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Big Black Cretto
Basin
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Shock wave
White gold room
Flagellation of Christ
Judith and Holofernes
Vesuvius
Portrait of Paul III with his grandchildren
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Portrait of a young woman called Antea
The Parable of the Blind
Atalante by Ippomena
Transfiguration of Christ
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Portrait of fra luca Pacioli with a pupil
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Saint Jerome in the study
From Frisio to Santa Lucia or Neapolitan song
Crucifixion
Madonna of the veil
Portrait of Pier Luigi Farnese in armor
Globe
Beheading of the rhinoceros
Without title
Untitled
Without title
Without title
Indivisible quartet
Room for voices
Time, mistake, space
Without title
Yellow surface
River bed
A J L B
Without title
Checks. Tribute to Niepce
Amalfi box
Big Black Cretto
Basin
Without title
Shock wave
White gold room
Flagellation of Christ
Judith and Holofernes
Vesuvius
Portrait of Paul III with his grandchildren
Danae
Portrait of a young woman called Antea
The Parable of the Blind
Atalante by Ippomena
Transfiguration of Christ
Madonna and Child with Angels
Crib group with the Nativity
Sant'Agata
Portrait of fra luca Pacioli with a pupil
Hercules at the crossroads
Apollo and Marsyas
Saint Jerome in the study
From Frisio to Santa Lucia or Neapolitan song
Crucifixion
Madonna of the veil
Portrait of Pier Luigi Farnese in armor

Portrait of a young woman called Antea

Girolamo Francesco Maria Mazzola, detto Parmigianino

Displayed in:

Capodimonte Museum and Real Wood

Capodimonte Museum and Real Wood

Via Miano, 2, Naples

Open now from 08:30 to 19:30

Verified profile

The young woman is obliged with great elegance; a marten skin descends on the right shoulder leaning on the gloved hand; an apron, an ornament in use among the northern nobility, is draped over the heavy silk dress. The careful hairstyle, softened by a precious pearl clasp, leaves the perfect oval of the face uncovered. The work, one of the greatest masterpieces of Italian Mannerism, is certainly one of the finest examples of a female figure of the sixteenth century and represents one of the highest points of the brilliant experiments on optical deformations, characteristic of the artist's activity. Intrigued by the rendering of bodies reflected on curved surfaces and by the infinite representative possibilities of painting, the icy and intellectual Parmigianino creates a figure that is only apparently still but which, as suggested by the deformed rendering of the sleeve in the foreground and the movement, barely mentioned, of the leg left, is in the act of turning around. Even in the green background it participates in this game of optical effects, because a source of light, at the bottom right, is about to be revealed precisely by the rotating movement in progress. The precious painting is not documented and the dating varies between the artist's Roman years and the Thirties, which mark the return to Parma and a more accentuated reflection on the figures, symbolically deformed, such as the famous long-necked Madonna, now in the Uffizi .
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Details

Title: Portrait of a young woman called Antea

Author: Girolamo Francesco Maria Mazzola, detto Parmigianino

Date: 1524-30

Technique: Oil painting on canvas

Displayed in: Capodimonte Museum and Real Wood

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