Parmigianino and andrea baiardi: Figuring petrarchan beauty in renaissance parma

Word and Image

Volumn 17, Issue 3, 2001, Pages 243-258

  Vaccaro, Mary ^a  

^a NONE

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[No Author keywords available]

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EID: 85009636680     PISSN: 02666286     EISSN: None     Source Type: Journal    
DOI: 10.1080/02666286.2001.10435717     Document Type: Article

References (27)

1. Elizabeth Cropper, ‘On beautiful women, Parmigianino, Petrarchismo, and the vernacular style’,.47 Bulletin, 58 (1976), pp. 374
2. Elizabeth Cropper, “The place of beauty in the High Renaissance and its displacement in the history of art', in Place and Displacement in the Renaissance, ed. Alvin Vos (Binghamton, NY, 1994), pp. 159-205.
3. Philip Solini, ‘Gendered style in Italian art criticism from Michelangelo to Malvasia’, Renaissance Qiiarlcrly, 48 (1995), pp. 759-808.
4. A. E. Popham. Catalogue oj Drawings by Parmigianino (New Haven and London, 1971), vnl. 1, p. 215 (no. 748 redo), plate 341
5. Petrarch P, ed. Durling, pp. 506-7, for the poem and its English translation.
6. Jadranka Bendili. Disegni della Galleria Estense di Modena (Modena. 1989), pp. 74-7.
7. Sharon Fermor, ‘Poetry in motion: beauty in movement and the Renaissance conception of leggiadria'. in Concepts of Beauty, pp. 124-33.
8. Leonard Forster, The Icy Fire: Fire Studies in European Petrarchism (Cambridge), 1969, especially pp. 54-6
9. Amedeo Quondam, I! naso di Laura. Lingua rpoesia linea nella tradizione de! Classicismo (Modena. 1991), pp. 203-62.
10. Giuseppe Mazzoita. The Worlds of Petrarch (Durham and London, 1993), especially pp. 163-6.
11. Edward Williamson, ‘A consideration of Vergine bella. Italica, 29 (1952), pp. 215-28.
12. Sydney J. Freed berg, Parmigianino: His U'orks in Painting (Cambridge, MA, 1950), pp. 186-9.
13. Giorgio Vasari, Le vite de' più eccellenti pitturi, scultori, ed architettori (1568), ed. Gaetano Milanesi (Florence, 1865-79)
14. Mary Rogers, “The decorum of women's beauty: Trissino, Firenzuola, Luigini and the representation of women in sixteenth-century painting', Renaissance! Studies, 2 (1958), pp. 47-88
15. Konrad Eisenbichler and Jacqueline Murray, On the Beauty of Women (Philadelphia, 1992), pp. xiii—xlvii
16. 627
17. Nancy Vickers, ‘Preface to the Blasnns Anatoniques: The Poetic and Philosophical Contexts of the Female Body in the Renaissance', PhD., Yale University, 1978, pp. 53-62;
18. E. Ann Matter, The Voice of My Beloved: The Sung of Songs in Western Medieval Christianity (Philadelphia, 1980), with previous bibliography.
19. Ruth Kelso, Doctrine for the Lady of the Renaissance (Urbana, 1956), pp. 275 -6
20. David Ekserdjian, ‘Parmigianino's first idea for the Madonna of the Long YecJv, Burlington Magazine. 126 (1984), pp. 424-9;
21. Mario Di Giampaolo, ‘Quattro studi del Parmigianino per la Madonna daI collo lungo', Prospettiva, 33-36 (1983—84), pp. 180-2;
22. Fortunato Rizzi, Petrarca e il decennio parmense, 1341-1351 (Turin and Milan, 1934)
23. Ernest Hatch Wilkins, Studies in the Life and Works of Petrarch (Cambridge, MA, 1955), pp. 3-32.
24. Nancy Vickers, ‘Members Only: Marol’s Anatomical Blazons', in The Body in Paris: Fantasies of Corporeality in Early Modern Europe, eds David Hillman and Carla Mazzio (New York, 1997)
25. A. E. Popham, ‘The Baiardi Inventory", in Studies in Renaissance and Banu/ne Ari Presented In Anthony Blunt mi his Goth Birthday (London) and New York, 19671, pp. 26
26. Elizabeth Cropper, ‘The beauty of woman: problems in the rhetoric of Renaissance portraiture", in Rewriting the Renaissance: The Discourse of' Sexual Difference in Early Modern Europe, eds Margaret W. Ferguson. Maureen Ouilligan and Nancy G. Vickers (Chicago, t98G), pp. 173-90.
27. Mary Rogers. ‘Sonnets 011 female portraits from Renaissance North Italy’, Word Image, 2 (1986) 1, pp. 291-303.