1540, Parmigianino, Madonna and Child, Angels, and a Prophet (Saint Jerome) ("The Madonna with the Long Neck") -- Uffizi Gallery (Florence)
From the museum label: The elegant and imposing Virgin Mary turns her gaze to the Child sleeping on her lap in a pose prefiguring his death. The angel to the left is holding a vase with the cross reflected in its shining surface. At the bottom right is Saint Jerome. There is also a foot, perhaps of Saint Francis, but the artist died before he could complete the figure. The painting's traditional title comes from the proportions of the Virgin's neck that is as long and slender as the column of Solomon's Temple, the place of wisdom, depicted to the right. In this painting, a quest for rarefied beauty, the dominant silvery tones model the elongated figures and seem to crystallize the flesh tones, the metal of the vase and the rustling silks of the Virgin's clothes.
1540, Parmigianino, Madonna and Child, Angels, and a Prophet (Saint Jerome) ("The Madonna with the Long Neck") -- Uffizi Gallery (Florence)
From the museum label: The elegant and imposing Virgin Mary turns her gaze to the Child sleeping on her lap in a pose prefiguring his death. The angel to the left is holding a vase with the cross reflected in its shining surface. At the bottom right is Saint Jerome. There is also a foot, perhaps of Saint Francis, but the artist died before he could complete the figure. The painting's traditional title comes from the proportions of the Virgin's neck that is as long and slender as the column of Solomon's Temple, the place of wisdom, depicted to the right. In this painting, a quest for rarefied beauty, the dominant silvery tones model the elongated figures and seem to crystallize the flesh tones, the metal of the vase and the rustling silks of the Virgin's clothes.