The Adoration of the Shepherds 1524-27 Parmigianino (Girolamo Francesco Maria Mazzola) Italian In comparison with a similar composition in the British Museum, London (inv. 1853,0108.3), this fairly detailed design shows the kneeling Virgin facing to the right rather than to the left, and the agitated poses of the shepherds now tamed into classical balance and restraint. The Metropolitan Museum sheet also offers evidence for a dating of the Adoration of the Shepherds drawings early rather than late in Parmigianino's Roman years, because the pose of the large standing nude man drawn in red chalk on the recto of a drawing in Cambridge (Harvard Art Museum inv. 1969.32) is echoed in the shepherd standing here on the left, and the general idea for the seated shepherds seen on the left in the recto of a sheet in a private collection (Popham no. 747), bearing a Parmese watermark, is also taken up here. The finished drawing by Parmigianino in Weimar (Popham no. 631) for Jacopo Caraglio's engrav

Brand: PL Photography Limited
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The Adoration of the Shepherds 1524-27 Parmigianino (Girolamo Francesco Maria Mazzola) Italian In comparison with a similar composition in the British Museum, London (inv. 1853,0108.3), this fairly detailed design shows the kneeling Virgin facing to the right rather than to the left, and the agitated poses of the shepherds now tamed into classical balance and restraint. The Metropolitan Museum sheet also offers evidence for a dating of the Adoration of the Shepherds drawings early rather than late in Parmigianino's Roman years, because the pose of the large standing nude man drawn in red chalk on the recto of a drawing in Cambridge (Harvard Art Museum inv. 1969.32) is echoed in the shepherd standing here on the left, and the general idea for the seated shepherds seen on the left in the recto of a sheet in a private collection (Popham no. 747), bearing a Parmese watermark, is also taken up here. The finished drawing by Parmigianino in Weimar (Popham no. 631) for Jacopo Caraglio's engrav

SuperStock offers millions of photos, videos, and stock assets to creatives around the world. This image of The Adoration of the Shepherds 1524-27 Parmigianino (Girolamo Francesco Maria Mazzola) Italian In comparison with a similar composition in the British Museum, London (inv. 1853,0108.3), this fairly detailed design shows the kneeling Virgin facing to the right rather than to the left, and the agitated poses of the shepherds now tamed into classical balance and restraint. The Metropolitan Museum sheet also offers evidence for a dating of the Adoration of the Shepherds drawings early rather than late in Parmigianino's Roman years, because the pose of the large standing nude man drawn in red chalk on the recto of a drawing in Cambridge (Harvard Art Museum inv. 1969.32) is echoed in the shepherd standing here on the left, and the general idea for the seated shepherds seen on the left in the recto of a sheet in a private collection (Popham no. 747), bearing a Parmese watermark, is also taken up here. The finished drawing by Parmigianino in Weimar (Popham no. 631) for Jacopo Caraglio's engrav by Piemags/PL Photography Limited is available for licensing today.

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