Comparison: Perseus Holding the Head of Medusa and Madonna of the Long Neck
Compare and Contrast ‘Perseus holding the Head of Medusa’ with Parmigianino’s ‘Madonna of the Long Neck’
Benevuto Cellini’s statue of ‘Perseus holding the Head of Medusa’ (Figure 1) and Parmigianino’s painting ‘Madonna of the long neck’ (Figure 2) are both prime examples of Mannerist art. The Mannerists sought to weave a refined, idealized and graceful visual style with arcane, complicated iconography to create artworks of complexity and elegance. This essay will discuss hoe both artists differ in technique and will demonstrate a contrast between the highly political significance of Cellini’s statue and Parmigianino’s religious painting. Throughout my discussion I will also explore how both artists comparatively adopt their own ‘maniera’ as they wilfully complicate the narrative of their traditional subjects. The painting and the sculpture focus on the idealization of the human figure, symbolism, explicit and implicit sexual content all to increase the Mannerist complexity of the art. Ultimately this essay will conclude how both works of art intensify the emotional drama or add literary or visual references so knowledgeable viewers had to work hard to decipher the meaning.
Benevuto Cellini’s bronze statue of Perseus with the head of Medusa stands on a square base in the Loggia dei Lanzi of the Piazza della Signoria in Florence. The subject of his work is derived from the mythological story of Perseus beheading Medusa. The relations of male and female, victorious versus vanquished and oppression versus repression are the fundamental themes of this statue, which at the time of its creation had a deep political meaning.
Parmigianino’s oil painting ‘Madonna of the Long Neck’ dates from 1535 – 1540 and was commissioned as an altarpiece for the church of Santa Maria dei Servi in Parma. The subject of this painting comes from Christianity: Mary holding Christ. The painting has religious significance as it was created for a chapel, evidently dedicated to the
Benevuto Cellini’s statue of ‘Perseus holding the Head of Medusa’ (Figure 1) and Parmigianino’s painting ‘Madonna of the long neck’ (Figure 2) are both prime examples of Mannerist art. The Mannerists sought to weave a refined, idealized and graceful visual style with arcane, complicated iconography to create artworks of complexity and elegance. This essay will discuss hoe both artists differ in technique and will demonstrate a contrast between the highly political significance of Cellini’s statue and Parmigianino’s religious painting. Throughout my discussion I will also explore how both artists comparatively adopt their own ‘maniera’ as they wilfully complicate the narrative of their traditional subjects. The painting and the sculpture focus on the idealization of the human figure, symbolism, explicit and implicit sexual content all to increase the Mannerist complexity of the art. Ultimately this essay will conclude how both works of art intensify the emotional drama or add literary or visual references so knowledgeable viewers had to work hard to decipher the meaning.
Benevuto Cellini’s bronze statue of Perseus with the head of Medusa stands on a square base in the Loggia dei Lanzi of the Piazza della Signoria in Florence. The subject of his work is derived from the mythological story of Perseus beheading Medusa. The relations of male and female, victorious versus vanquished and oppression versus repression are the fundamental themes of this statue, which at the time of its creation had a deep political meaning.
Parmigianino’s oil painting ‘Madonna of the Long Neck’ dates from 1535 – 1540 and was commissioned as an altarpiece for the church of Santa Maria dei Servi in Parma. The subject of this painting comes from Christianity: Mary holding Christ. The painting has religious significance as it was created for a chapel, evidently dedicated to the
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