Parmigianino - History Lab https://historylab.es Fri, 20 May 2022 07:35:56 +0000 en-US hourly 1 https://wordpress.org/?v=7.0 https://historylab.es/wp-content/uploads/2021/06/cropped-icono-historylab-32x32.jpg Parmigianino - History Lab https://historylab.es 32 32 Pedro Maria Rossi, Count of San Segundo https://historylab.es/pedro-maria-rossi-count-of-san-segundo/?utm_source=rss&utm_medium=rss&utm_campaign=pedro-maria-rossi-count-of-san-segundo Sat, 19 Feb 2022 16:31:53 +0000 https://historylab.es/2022/02/19/pedro-maria-rossi-conde-de-san-segundo/ Power elites

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]]> Parmigianino’s painting of an Italian aristocrat. The artist, whose real name was Girolamo Francesco Maria Mazzola, was one of the foremost artists of early Italian Mannerism

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]]> Camila Gonzaga, Countess of San Segundo and her children https://historylab.es/camila-gonzaga-countess-of-san-segundo-and-her-children/?utm_source=rss&utm_medium=rss&utm_campaign=camila-gonzaga-countess-of-san-segundo-and-her-children Sat, 19 Feb 2022 16:30:26 +0000 https://historylab.es/2022/02/19/camila-gonzaga-condesa-de-san-segundo-y-sus-hijos/ Camila Gonzaga, married to the Count of San Secondo, is portrayed with three of her six children by Parmigianino

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]]> Portraits of marriage and family are common in the Modern Age, allowing us to detect forms of relationship between husband and wife and family compositions. This portrait by Parmigianino depicts Camilla Gonzaga, married to the Count of San Secondo, emphasising her role as a mother. The iconography of the work depicts, apparently for the first time in Italy, a woman surrounded by her children in the manner of classical charity. Revealing is the hardness of the mother’s face, with a certain restrained smile, while the children approach the cord around her waist with their hands, considering it an element of security. She gives the impression that with one of them she wants to break the bonds of dependence, with another she seems to warn him of a possible withdrawal and only allows the youngest to cling to her. Her attitude, together with the direction of the children’s gaze, leaves a clear message: age forces a change in mother-child relationships and male life and promotion are associated with going out of the domestic space.

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