Girolamo Francesco Maria Mazzola also known as Parmigianino ("the little one from Parma") was an Italian Mannerist painter and printmaker active in Florence; Rome; Bologna; and his native city of Parma. His work is characterized by elongation of form and includes Vision of Saint Jerome (1527) and the Madonna with the Long Neck (1534). Parmigianino was also an early Italian etcher; a technique that was pioneered in Italy by Marcantonio Raimondi; but which appealed to draughtsmen: though the techniques of printing the copper plates require special skills; the ease with which acid; when substituted for ink; can reproduce the spontaneity of an artists hand attracted Parmigianino; a master of elegant figure drawing. Parmigianino also designed chiaroscuro woodcuts; and although his output was small he had a considerable influence on Italian printmaking. Some of his prints were done in collaboration with Giovanni Jacopo Caraglio.
#3038489 in eBooks 2015-02-11 2015-02-11File Name: B00W3TYD4A
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1 of 1 people found the following review helpful. Ann Satterthwaites "Local Glories" is an eye-opener! A fascinating ...By Tony HissAnn Satterthwaites "Local Glories" is an eye-opener! A fascinating; inspiring account of an important and strangely overlooked American phenomenon -- or rather two such phenomena: how in the years after the Civil War communities all over the country found new life and new purpose by building their own opera houses (the "local glories" of the title); and how; after decades of neglect; in the late 20th century and today these lovely; rediscovered structures are once again emerging as centers of life and hope and creating force fields of renewed community strength. A book that all historic preservationists; community planners and activists; arts group organizers; and cultural historians will want to read and re-read.1 of 1 people found the following review helpful. A FORGOTTEN STORY OF AMERICAN COMMUNITY LIFE; RE-TOLDBy KiskatomNothing is as rewarding as a book that breaks new ground. Ann Satterthwaite began her research at ground level and has constructed a rich and nuanced history of the American small-town opera house. She makes a strong case for their cultural impact; particularly between the Civil War and the First World War; but she also observes in detail the remarkable renaissance of the opera house as baby boomers have sought means of community cohesion and ways to revitalize promising but moribund communities. The illustrations are wide-ranging; and there is a checklist; admittedly incomplete; of surviving opera house structures. Admirably; her work is properly annotated to her extraordinary variety of documentary sources.
