Essay regarding Comparison: Perseus Holding the top of Medusa and Madonna of the Long Neck

Compare and Contrast ‘Perseus holding the top of Medusa' with Parmigianino's ‘Madonna with the Long Neck'

Benevuto Cellini's statue of ‘Perseus keeping the Head of Medusa' (Figure 1) and Parmigianino's art work ‘Madonna from the long neck' (Figure 2) are both perfect examples of Mannerist art. The Mannerists wanted to weave a refined, idealized and stylish visual style with arcane, complicated iconography to create artworks of complexity and elegance. This essay will discuss hoe both performers differ in technique and will demonstrate a contrast involving the highly politics significance of Cellini's sculpture and Parmigianino's religious piece of art. Throughout my discussion Let me also explore how equally artists relatively adopt their own ‘maniera' as they wilfully complicate the story of their classic subjects. The painting as well as the sculpture give attention to the idealization of the man figure, symbolism, explicit and implicit lovemaking content every to increase the Mannerist difficulty of the art. Ultimately this essay will determine how both works of art heighten the mental drama or perhaps add literary or visual references thus knowledgeable viewers had to work hard to decipher the meaning.

Benevuto Cellini's bronze statue of Perseus while using head of Medusa stands on a sq base in the Loggia dei Lanzi of the Piazza della Signoria in Florence. The subject of his function is derived from the mythological account of Perseus beheading Medusa. The associations of man and female, successful versus vanquished and oppression versus clampdown, dominance are the fundamental themes on this statue, which at the time of its creation a new deep personal meaning. Parmigianino's oil art work ‘Madonna of the Long Neck' dates coming from 1535 – 1540 and was entrusted as an altarpiece to get the house of worship of Santa Maria dei Servi in Parma. The main topic of this piece of art comes from Christianity: Mary having Christ. The painting provides religious relevance as it was created for a chapel, evidently committed to the Virgin mobile Mary. Even though Cellini's echarpe and Parmigianino's painting were commissioned in different parts of Italy, their different locations remain highly important in their meaning.

Cellini uses the lost-wax process and goodies the take action of modelling, and cautiously manipulates the soft material into a brave act. Perseus steps ahead, his mind bowed, proper arm flexed, left arm raised with the truncated body of Medusa listed below him. By simply sculpting other slim, twisting, and fleshless creatures just like his Narcissus (Figure 3), Cellini follows Michelangelo's interpretation of the idealized human form and thus uses High Renaissance examples to convey his fresh ideals. The sculpture ‘seems designed to move the figural members with the greatest possible invention'1 displaying Cellini's creative skills in his imaginative development of the statue. Cellini manufactured the conscious decision to work in this kind of medium mainly because by putting molten metal into the cast, ‘he was vivifying the sculpture with life-giving blood'2. Cole's suggestion is a good example of Cellini's fervent artistry fantastic confidence confound in the process of getting the statue. The smooth casting of Perseus' face is nearly identical to that particular of Donatello's bronze David, an apparent indication that Cellini was following a canonical Renaissance method to illustrate the idea of a lovely face. Medusa's head is additionally idealised: her sensuous epidermis contrasts her snake-like curly hair, thus confusing the story of the statue. The somewhat lithe beautiful athletic thin form of Perseus corresponds to the dominant artistic of the time. In respect to Charles Avery ‘this elegant effortless poise was the hallmark of Mannerist Art'3, and thus the smoothness of the limbs and Cellini's excellent finishes differentiate his sculpture as a skilled work of Mannerist artwork. Parmigianino nevertheless adopts the oil portrait technique for his altarpiece. In preparation to get the work Parmigianino's numerous sketches reveal the way in which ‘the likeness...

Bibliography: Berfer, John, Ways of Seeing, Penguin UK, 08

Cole, Michael jordan, Cellini's Blood', Art Bulletin, 1991

Dickinson, Fairleigh, The English Mannerist Poets and the Visual Arts, L. Elizabeth Semler,

Eskerdjian, David, Parmigianino, Yale University Press, 2006,

Freedberg, Sydney L., Parmigianino: His Works in Painting, Cambridge, MA: Harvard University Press, 1950; published, Westport, COMPUTERTOMOGRAFIE: Greenwood Press, 1976

Fride-Carrassat, Patricia, Great Painters, Sections Harrap Publishers Ltd, 2004

Harrison, Charles, An Introduction to Art, Yale University Press, Charles Harrison, 2009

Laneyrie-Dagen, Nadeije, How you can Read Artwork 2 The Secrets in the Artist's Studio room, Chambers Harrap Publishers Limited, 2004

Laneyrie-Dagen, Nadeije, Tips on how to Read Works of art, Chambers Harrap Publishers Limited, 2004

Works of art of Traditional western Art From the Gothic to Neoclassicism, Taschen, 1996,

Sawday, Jonathan Your body Emblazoned: Dissection and the Body of a human in Renaissance Culture, Routledge, 2013

Shearman, John, Just Connect Artwork and the Spectator in the Italian language Renaissance (New Jersey, Princeton University Press, 1992

Glover, Michael, Great Works: Pop-queen of the Extended Neck, 1535-40 (219cm by 135cm), Parmigianino, January 2013

Alchemy, Androgyny, and Mannerism: Aspects of Desire in the Artwork of Parmigianino, Joe A

Even, Yael, Woman's Skill Journal doze The Portico dei Lanzi: a Highlight of Girl Subjugation, 1991



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