Due to his expeditious production of paintings, Girolamo Mazzola Bedoli became a painter of note in the competitive artistic arena of Parma during the late 1530s and 40s. A native of Viadana (like Parmigianino, his better-known master and kinsman by marriage), Bedoli was considered Parmigianino's successor in the Parmese school, according to Giorgio Vasari, Bedoli's first biographer (1568). This rapidly executed drawing fragment is typical of the artist. He was a particularly gifted draftsman, perhaps more so than as a painter, evident here from his luminous use of wash and his bold control of line, as well as his ease in portraying the foreshortened pose of the putto. As has recently been proposed, this delightful drawing is connected to one of Bedoli's most important projects, the frescoes in the choir of Parma Cathedral of about 1538-40, which represent a dazzling composition of figures set within illusionistically painted architecture. (Carmen C. Bambach, 2009).
On this beautiful composition the focal part of the composition is clearly identified. Inmerse on a dark ground, these Madonna and Child ressemble us to some Florentine depictions though being associated to Parma region instead.
The composition depicted in mannierist style, depicts the Infant Christ standing on what seems to be a table or cut rock, and swinging towards the Madonna. The movement he has plus the white drappery and the halo are very characteristic.
She, in blue, red drappery, and brownish mantle, looks towards her right, and is holding a book on his right arm as well.
The fluidity seen on this Renaissance painting is one of a kind, being painted circa 1540.
Oil on canvas, relined twice. Recently restored, new frame.
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Madonna and the Child, with a Book
Circle of Girolamo Mazzola Bedoli (c. 1500–1569)
104 x 83 cm | 41 x 32.7 in.
Provenance: Private Collection, Buenos Aires.
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