Adoration of the Magi is an oil on panel painting by Parmigianino, executed c. 1529, now in San Domenico church in Taggia (province of Imperia, Italy).
The work was in San Domenico church by at least 1622, since it was mentioned in that building's 1623 inventory by its priest Niccolò Calvi. It may have arrived there as a tribute to one of the brothers, who ran the Inquisition. At that time it was misattributed to Perin del Vaga and was later assigned to Luca Cambiaso and Girolamo da Treviso, before Roberto Longhi restored its present attribution by comparison with Parmigianino's Virgin and Child and Santa Margherita Madonna . [1]
Giovanni Battista Tiepolo, also known as GiambattistaTiepolo, was an Italian painter and printmaker from the Republic of Venice who painted in the Rococo style, considered an important member of the 18th-century Venetian school. He was prolific, and worked not only in Italy, but also in Germany and Spain.
Spello is an ancient town and comune (township) of Italy, in the province of Perugia in eastern-central Umbria, on the lower southern flank of Monte Subasio. It is 6 km (4 mi) NNW of Foligno and 10 km (6 mi) SSE of Assisi. It is one of I Borghi più belli d'Italia.
Girolamo Francesco Maria Mazzola, also known as Francesco Mazzola or, more commonly, as Parmigianino, was an Italian Mannerist painter and printmaker active in Florence, Rome, Bologna, and his native city of Parma. His work is characterized by a "refined sensuality" and often elongation of forms and includes Vision of Saint Jerome (1527) and the iconic if somewhat anomalous Madonna with the Long Neck (1534), and he remains the best known artist of the first generation whose whole careers fall into the Mannerist period.
The Basilica of San Petronio is a minor basilica and church of the Archdiocese of Bologna located in Bologna, Emilia Romagna, northern Italy. It dominates Piazza Maggiore. The basilica is dedicated to the patron saint of the city, Saint Petronius, who was the Bishop of Bologna in the fifth century. Construction began in 1390 and its main facade has remained unfinished since. The building was transferred from the city to the diocese in 1929; the basilica was finally consecrated in 1954. It has been the seat of the relics of Bologna's patron saint only since 2000; until then, they were preserved in the Santo Stefano church.
Museo di Capodimonte is an art museum located in the Palace of Capodimonte, a grand Bourbon palazzo in Naples, Italy designed by Giovanni Antonio Medrano. The museum is the prime repository of Neapolitan painting and decorative art, with several important works from other Italian schools of painting, and some important ancient Roman sculptures. It is one of the largest museums in Italy. The museum was inaugurated in 1957.
Michelangelo Anselmi was an Italian Renaissance-Mannerist painter active mostly in Parma.
Cortemaggiore is an Italian comune located in the Province of Piacenza. Cortemaggiore is located in northern Italy about 80 kilometres (50 mi) from Milan and 120 kilometres (75 mi) from Bologna, in the Pianura Padana. The municipality borders Fiorenzuola d'Arda, Villanova sull'Arda, Besenzone, San Pietro in Cerro, Caorso, Pontenure and Cadeo.
Rogliano is a town and comune in the province of Cosenza in the Calabria region of southern Italy. It's located in the Savuto Valley. It was mostly destroyed in a violent earthquake in 1638. The town is 19 kilometers (12 mi) from Cosenza.
Giovanni Antonio Lappoli (1492–1552) was a Tuscan painter from Arezzo who painted in a Mannerist style.
Francesco Brizio (1574–1623) was an Italian painter and engraver of the Bolognese School, active in the early-Baroque.
The mystical marriage of Saint Catherine covers two different subjects often shown in Catholic art arising from visions received by either Catherine of Alexandria or Catherine of Siena (1347–1380), in which these virgin saints went through a mystical marriage wedding ceremony with Christ, in the presence of the Virgin Mary, consecrating themselves and their virginity to him.
San Giovanni Evangelista is a Mannerist-style, Roman Catholic church located on Piazzale San Giovanni, located just behind the apse of the Parma Cathedral, in the historic center of Parma, northern Italy. The buildings surrounding the piazza were also part of a former Benedictine convent. The church is notable for its Correggio frescoes.
The Bardi Altarpiece, is an Italian Mannerist painting by the Italian painter Parmigianino, dating from c. 1521. It is housed in the church of Santa Maria, at Bardi.
Portrait of Camilla Gonzaga and Her Three Sons is a painting attributed to the Italian Mannerist artist Parmigianino and his workshop, executed c. 1539-1540. It is housed in the Museo del Prado, in Madrid. It forms a pair with another painting in the Prado, the Portrait of Pier Maria Rossi di San Secondo, Camilla's husband, a painting which is unanimously assigned to Parmigianino.
(The) Mystic(al) Marriage of Saint/St. Catherine may refer to any of a large number of paintings of the Mystical marriage of Saint Catherine, a few of which are:
Domenico Tibaldi was an Italian architect and painter. He was a major exponent of the Bolognese Mannerist style
The Church and Convent of Saint Dominic is a Roman Catholic church located in the city of Turin, Italy. Throughout its history it has served as a church, as inquisition tribunal, and as a masonic lodge.
Mystic Marriage of Saint Catherine or Mystic Betrothal of Saint Catherine is a c.1524 oil on canvas painting by the Italian Renaissance painter Parmigianino. The work is now in the Galleria nazionale di Parma. Art historians argue that the work may be attributed to the period in which Parmigianino was painting his first works in the church of San Giovanni Evangelista, as also emerges from a recent restoration, which has shown that its technique is near-identical to that of Parmigianino - "no underdrawing, pigment use, descriptive speed, drafting of final shadows, using fingers and brush-ends as tools".
Madonna of the Rose is a 1530 oil on panel painting by Parmigianino, now in the Gemäldegalerie in Dresden.
The Renaissance in Emilia concerns multiple realities in a dense network of exchanges with all the surrounding areas. In the fifteenth and sixteenth centuries, Emilia was fractioned into several lordships, among which Ferrara of the Este, Bologna of the Bentivoglio, and Parma of the Farnese became known as art centers.