| Artist | Parmigianino |
|---|---|
| Year | c. 1535-1539 |
| Type | Oil on canvas |
| Dimensions | 133 cm × 98 cm (52 in × 39 in) |
| Location | Museo del Prado, Madrid |
Portrait of Pier Maria Rossi di San Secondo is a painting by the Italian Mannerist artist Parmigianino, executed around 1535-1539 and housed in the Museo del Prado, Madrid, Spain. It is coupled with the Portrait of Camilla Gonzaga and Her Three Sons, wife of the count, although the latter is not unanimously attributed to Parmigianino.
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It is mentioned in a 1686 inventory of the collections of the Royal Alcazar of Madrid, as the portrait of count of San Sigundo. The subject has been identified with Pier Maria III de' Rossi basing on this note, and by another from 1630 by one of his descendants about the existence of a portrait of him by Parmigianino.
The painting arrived in Spain in 1664, after King Philip IV had supported to the Rossi family in a dispute with the Farnese of Parma about some territories. It has been dated from around 1535 to 1539, basing on the age of Pier Maria (born in 1508) in the portrait. In that period, according to late Renaissance art historian Giorgio Vasari, Parmigianino had taken refuge at his court.
The count is portrayed standing in front of a precious damask cloth background. He wears a long and wide, fur-lined black jacket, a waistcoat in the same color, a white shirt and white trousers with "French" cuts. The latter, according to the contemporary fashion, are padded above the groin. His austere posture and the hand at the sword's hilt refer to Pier Maria's military career. He looks to the right, ideally towards his wife's portrait.
At the right is a landscape with a city rich of monuments, perhaps Rome. The objects are also references to the count's life and personal interests: a statue of Mars, the Roman war god, an ancient bas-relief (symbol of his collector attitude), and some books, hinting to his love for literature (he was in correspondence of poet Pietro Aretino). On of the books has the inscription "Imperio", referring to Pier Maria's commitment with emperor Charles V at the time in which the work was painted.