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.
Justus Sustermans, Joost Sustermans or Suttermans, his given name Italianised to Giusto, was a Flemish painter and draughtsman who is mainly known for his portraits. He also painted history and genre paintings, still lifes and animals.
The Madonna with the Long Neck, also known as Madonna and Long Child with Angels and St. Jerome, is an Italian Mannerist oil painting by Parmigianino, dating from c. 1535-1540 and depicting Madonna and Child with angels. The painting was begun in 1534 for the funerary chapel of Francesco Tagliaferri in Parma, but remained incomplete on Parmigianino's death in 1540. Ferdinando de' Medici, Grand Prince of Tuscany, purchased it in 1698 and it has been on display at the Uffizi since 1948.
Fashion in the period 1550–1600 in European clothing was characterized by increased opulence. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation remained prominent. The wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders had reached its peak in the 1530s, and by mid-century a tall, narrow line with a V-lined waist was back in fashion. Sleeves and women's skirts then began to widen again, with emphasis at the shoulder that would continue into the next century. The characteristic garment of the period was the ruff, which began as a modest ruffle attached to the neckband of a shirt or smock and grew into a separate garment of fine linen, trimmed with lace, cutwork or embroidery, and shaped into crisp, precise folds with starch and heated irons.
Fashion in the period 1600–1650 in Western clothing is characterized by the disappearance of the ruff in favour of broad lace or linen collars. Waistlines rose through the period for both men and women. Other notable fashions included full, slashed sleeves and tall or broad hats with brims. For men, hose disappeared in favour of breeches.
Fashion in the period 1650–1700 in Western clothing is characterized by rapid change. The style of this era is known as Baroque. Following the end of the Thirty Years' War and the Restoration of England's Charles II, military influences in men's clothing were replaced by a brief period of decorative exuberance which then sobered into the coat, waistcoat and breeches costume that would reign for the next century and a half. In the normal cycle of fashion, the broad, high-waisted silhouette of the previous period was replaced by a long, lean line with a low waist for both men and women. This period also marked the rise of the periwig as an essential item of men's fashion.
Fashion in the period 1500–1550 in Europe is marked by very thick, big and voluminous clothing worn in an abundance of layers. Contrasting fabrics, slashes, embroidery, applied trims, and other forms of surface ornamentation became prominent. The tall, narrow lines of the late Medieval period were replaced with a wide silhouette, conical for women with breadth at the hips and broadly square for men with width at the shoulders. Sleeves were a center of attention, and were puffed, slashed, cuffed, and turned back to reveal contrasting linings.
Portrait of Elisabetta Gonzaga is an oil on wood painting attributed to the Italian Renaissance artist Raphael, executed c. 1504–1505, and housed in the Uffizi Gallery, Florence.
The Portrait of Eleanor of Toledo and Her Son is a painting by the Italian artist Agnolo di Cosimo, known as Bronzino, finished ca. 1545. One of his most famous works, it is housed in the Uffizi Gallery of Florence, Italy and is considered one of the preeminent examples of Mannerist portraiture. The painting depicts Eleanor of Toledo, the wife of Cosimo I de' Medici, Grand Duke of Tuscany, sitting with her hand resting on the shoulder of one of her sons. This gesture, as well as the pomegranate motif on her dress, referred to her role as mother. Eleanor wears a heavily brocaded dress with black arabesques. In this pose, she is depicted as the ideal woman of the Renaissance. The painting is the first known state-commissioned portrait to include the ruler's heir. By including the child, Cosimo wished to imply that his rule would bring stability to the duchy.
Fashion in 15th-century Europe was characterized by a series of extremes and extravagances, from the voluminous robes called houppelandes with their sweeping floor-length sleeves to the revealing doublets and hose of Renaissance Italy. Hats, hoods, and other headdresses assumed increasing importance, and were draped, jeweled, and feathered.
Isabella in Black is a portrait of a young woman by Titian. It can be dated to the 1530s and is in the Kunsthistorisches Museum in Vienna. The artist and the date are undisputed. Beyond the museum documentation, there are repeated doubts about the person depicted.
Woman with a Mirror is a painting by Titian, dated to c. 1515 and now in the Musée du Louvre, in Paris.
La Bella is a portrait of a woman by Titian in the Palazzo Pitti in Florence. The painting shows the subject with the ideal proportions for Renaissance women. In parallel the stringent composition corresponds to Titian's real portraits. The work can be dated by a letter about "that portrait of that woman in a blue dress" in May 1536.
Portrait of Galeazzo Sanvitale (1524) is a painting of the condottiero Gian Galeazzo Sanvitale by the Italian late Renaissance artist Parmigianino. It is housed in the National Museum of Capodimonte, Naples, Italy.
Portrait of Pier Maria Rossi di San Secondo is a painting by the Italian Mannerist artist Parmigianino, executed around 1535–1539 and housed in the Museo del Prado, Madrid, Spain. The subject was Count of San Secondo, and the painting forms a pair with a group portrait of his Countess and their children, Portrait of Camilla Gonzaga and Her Three Sons, although the latter is not unanimously attributed to Parmigianino.
Portrait of Camilla Gonzaga and Her Three Sons is a painting attributed to the Italian Mannerist artist Parmigianino and his workshop, executed around 1535–1537 and housed in the Museo del Prado, Madrid, Spain. 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 Portrait of Bia de' Medici is an oil-tempera on wood painting by Agnolo Bronzino, dating to around 1542 and now in the Uffizi in Florence. For a long time it was displayed in the Tribuna at the heart of the museum, but since 2012 it has been moved to the "sale rosse" of the Nuovi Uffizi. A second portrait, by Pontormo, has also been argued to show Bia de' Medici, but this identification is disputed.
Portrait of Cecilia Gozzadini is an oil painting attributed to Parmigianino, dated to around 1530 and now held at the Kunsthistorisches Museum in Vienna.
The Balzo was a headdress worn by noblewomen of Italy in the 1530s. It was donut-shaped but appeared turban-like from the front, though it was generally worn further back from the forehead exposing the hair, unlike a period turban.
Portrait of a Young Man is an oil on panel painting by Parmigianino, executed c. 1530, now in the Uffizi in Florence, whose collection it entered on 27 October 1682. Three copies survive in the Museo di Capodimonte, Rome's Accademia di San Luca and the Galleria nazionale di Parma.
