Correggio and Parmigianino Master Draughtsmen of the Renaissance Libreria della Spada Libri esauriti antichi e moderni Libri rari e di pregio da tutto il mondo

Correggio and Parmigianino Master Draughtsmen of the Renaissance

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Autore/i	Carmen C. Bambach, Hugo Chapman, Martin Clayton, George R. Goldner,
Editore	British Museum Press	Luogo	Londra
Anno	2000	Pagine	192
Dimensioni	23x29 (cm)	Illustrazioni	190 ill. a colori e b/n n.t. - colors and b/w ills
Legatura	cart. edit. con sovracc. ill. colori - Hardcover with dustjacket	Conservazione	Usato ottime condizioni - used very good
Lingua	Inglese - English text	Peso	1500 (gr)
ISBN	0714126284	EAN-13	9780714126289

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Bringing together works from numerous important collections on both sides of the Atlantic, this catalogue presents a broad survey of Correggio and Parmigianino, with all the drawings illustrated in colour.

The catalogue reinforces a tendency to view these not-quite-contemporary Parmese artists in an almost binary opposition, repeating conventional wisdom that describes Correggio’s drawings as beautiful but utilitarian, while designating Parmigianino as a consummate draughtsman. A. E. Popham framed this same idea more adroitly in the opening pages of his still indispensable Correggio’s Drawings (London: The British Academy, 1957), categorizing Correggio as a “painter-artist…less likely to be interested in the process of constructing a picture and…preserving these steps in its construction” (1). Correggio, by implication, drew only when required: The act of drawing was a limited means to an end, of less import as intellectual process than the creative moments that occurred during facture of the culminating work, usually a painting. By contrast, Parmigianino’s prolificacy suggests an internal kunstwollen and personal imperative, drawing for its own sake because “linear rhythm, the feel of pen and ink…were a joy and [he] was never happier than when, to use a current phrase, doodling…. Correggio never doodled” (2). Parmigianino’s “doodles” are thus construed as signaling intellectual impulses distinct from Correggio’s more spontaneously combustive art, a dichotomy operative only in a universe that tacitly privileges Giorgio Vasari’s model of disegno, where drawing is paramount to the process of pictorial construction.