Girolamo Mazzola Bedoli

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Girolamo Mazzola Bedoli (c. 1500 - 1569) was an Italian painter of the Parmesan school of Painting, and active in a Mannerist style.

Bedoli was born in Parma. He was a near contemporary of Parmigianino, and after the early death of the latter master, he was completed some frescoes initially commissioned from Parmigianino, for example, in the apse at Santa Maria della Steccata^[1]. He is known to have worked the studio of the latter's uncles in the city of Parma. He married the daughter of Pier Ilaro Mazzola, a cousin of Parmigianino, hence he added to his name the better known Mazzola appellation.

He painted along with his father in law the Immaculate Conception for the Oratorio della Concezione (now in Parma Gallery). Freedberg describes him in his masterpiece of the Annunciation as resembling Parmigianino in the same way Bronzino reflected the elder Pontormo, equal in skill and refinement, but lacking the original abstracting poetry of the image. The works are equal in polish, but stony in feeling. He produced murals, portraits, designed tombs, and altarpieces — the diverse uses probably trained him best as a decorative artist. His son, Alessandro Mazzola (1533-1608), was an undistinguished painter.

[edit] Partial Anthology

• Adoration of the Child, (Museo di Capodimonte, Naples)
• Annunciation, (Ambrosiana, Milan)
• Madonna with Saint Sebastian and Saint Francis, (Gemäldegalerie, Dresden)
• The Marriage of Saint Catherine, (Gallery, Parma)
• Adoration of the Kings, (Gallery, Parma)
• Christ as Judge on the Last Day, (Fresco in apse, Duomo di Parma)
• Madonna and Child in Landscape, (Fogg Museum, Cambridge, Massachusetts)
• Immaculate Conception
• Jesus and St John the Baptist (c. 1535)[1]
• Pentecost

[edit] References

• Freedberg, Sydney J. (1993). in Pelican History of Art: Painting in Italy, 1500-1600. Penguin Books, p416-420. 
• Francis P. Smyth and John P. O'Neill (Editors in Chief (1986). in National Gallery of Art: The Age of Correggio and the Carracci: Emilian Painting of the 16th and 17th Centuries, p. 65. 

[edit] Notes