Parmigianino’s work is defined by its painter sensibility — an enduring influence on generations that followed. Most artists are dead; following is a declaration of love.

Venus with Cupid and Putto
Attributed to Parmigianino Italian, 1503-1540

Augustus and the Tiburtine Sibyl
After Parmigianino Italian, 1503-1540

Group of Nine Standing Figures
Francesco Mazzola, called Parmigianino Italian, 1503-1540

Minerva (or Bellona) in a Niche
after Francesco Mazzola, called Parmigianino Italian, 1503-1540

Female Heads
Attributed to Parmigianino Italian, 1503-1540

Old Shepherd Leaning on a Staff
Francesco Mazzola, called Parmigianino Italian, 1503-1540

Holy Family with Mary Magdalene
After Francesco Mazzola, called Parmigianino Italian, 1503-1540

Crucifixion
Francesco Mazzola, called Parmigianino Italian, 1503-1540

The Entombment
Parmigianino Italian, 1503-1540

Holy Family with Mary Magdalene and Male Saint
After Francesco Mazzola, called Parmigianino Italian, 1503-1540

Woman Delousing a Child
Parmigianino Italian, 1503-1540

Martyrdom of Saints Peter and Paul
after Francesco Mazzola, called Parmigianino Italian, 1503-1540

Page Serving Wine or The Painter's Apprentice
Francesco Mazzola, called Parmigianino Italian, 1503-1540

Young Man Reading
Francesco Mazzola, called Parmigianino Italian, 1503-1540

Virgin and Child (recto); Sketch of Three Saints and Caricature Sketch (verso)
After Parmigianino Italian, 1503-1540

Sketch of Left Hand and Wrist
Francesco Mazzola, called Parmigianino Italian, 1503-1540

Saint James Major
After Francesco Mazzola, called Parmigianino Italian, 1503-1540

Woman and Two Children
After Francesco Mazzola, called Parmigianino Italian, 1503-1540

Virgin and Child Seated on Clouds
Attributed to Count Antonio Maria Zanetti the Elder (Italian, 1679/80–1767) or after Francesco Mazzola, called Il Parmigianino (Italian, 1503-1540)

Venus and Mars with Putti (recto); Bearded Man Moving to Right (verso)
Circle of Francesco Mazzola, called Parmigianino Italian, 1503-1540