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| Antea (Portrait of a Young Woman) | |
|---|---|
 | |
| Artist | Parmigianino |
| Year | c. 1525 |
| Medium | Oil on canvas |
| Dimensions | 136 cm× 86 cm(54 in× 34 in) |
| Location | National Museum of Capodimonte, Naples |
Antea (also known as Portrait of a Young Woman) is a painting by the Italian Mannerist artist Parmigianino. The painting is in the collection of the Museum of Capodimonte in Naples, Italy.
The work is mentioned in 1671 as part of the Farnese collections in the Palazzo del Giardino. In the late 17th century, the painting was moved to the Ducal Gallery in the Palazzo della Pilotta in Parma. It has been in Naples since 1734, aside from a short period in 1816-1817 at Palermo.[ citation needed ] During World War II it was moved to Montecassino, where it was stolen by the occupying German forces and brought to Berlin, and then to the Austrian salt mines of Altaussee, from where it returned to Italy in 1945.[ citation needed ]
The subject of the painting remains largely a mystery. In 1671, Giacomo Barri, an artist and writer, referred to the woman as "Antea", the name of a famous 16th-century Roman courtesan, and stated she was the artist's mistress. [1] This identification has long been contested. Studies of the woman's garments, a mix of luxury and popular elements, have led to the hypothesis that she could be either the artist's daughter, a lover, or a servant of Parmigianino, if not Pellegrina Rossi di San Secondo or another unknown noblewoman of Parma. [2] Art historian Elizabeth Cropper has written about the painting in the context of the extensive Italian Renaissance discourse on the specific traits and qualities of ideal female beauty. [3]
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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.
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Holy Family with the Infant Saint John the Baptist is a painting by Parmigianino, executed c. 1528. It was in the Palazzo Farnese in Rome until 1662, when it moved to Parma. There it hung in the Palazzo del Giardino and later in the Galleria Ducale - the 'Descrizione' of the latter in 1725 called it one of the finest works on display there. It and the rest of the Farnese collection were later moved to Naples and the work was exhibited for a few years in the Palazzo Reale before moving to its present home in the National Museum of Capodimonte. Two early copies remain in the Galleria Nazionale and Palazzo Comunale in Parma.
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Marjorie Elizabeth Cropper is a British-born art historian with a special interest in Italian and French Renaissance and Baroque art and art literature. Dean of the National Gallery of Art’s Center for Advanced Study in the Visual Arts (CASVA) since December 2000, she previously held positions as Professor of Art History at Johns Hopkins University and director of the university’s Charles S. Singleton Center for Italian Studies at Villa Spelman in Florence.
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