Mannerism · 1503–1540 · Italian

Parmigianino

Across 3 works, the colors are mostly brown (65%), black (24%) and gray (3%). On average the canvases are mid-toned, moderately saturated and warm. Signature colors, used far more here than across the collection: rich scarlet brown, very dark brown, warm black, dark brown and dark amber brown.

Color print

The swatches covering most of these canvases, averaged over every work, dark to light.

• MG 219 bistre 9.2% of canvas
• MG 222 charcoal 6.7% of canvas
• MG 220 warm black 6.5% of canvas
• MG 176 taupe 5.7% of canvas
• MG 177 dark taupe 4.9% of canvas
• MG 169 dark brown 4.5% of canvas
• MG 168 dark amber brown 4.3% of canvas
• MG 167 brown 3.5% of canvas
• MG 162 rich scarlet brown 3.4% of canvas
• MG 183 golden umber 3.3% of canvas
• MG 175 stone 3.3% of canvas
• MG 181 light sand 3.0% of canvas
• MG 223 soot 2.5% of canvas
• MG 170 very dark brown 2.5% of canvas
• MG 184 umber 2.5% of canvas
• MG 182 golden umber 2.1% of canvas

Measurements

Lightness

0.41

Contrast

0.55

Vividness

0.038

Warmth

+0.97

Complexity

155 cells

Hue range

0.35

Focus

0.11

Composition

Averaged over 3 works: 50% of the visual weight in the left half, 56% in the upper half; symmetry 0.33; 27% calm space; half of the detail in 28% of the canvas. Measured from each image, not a rule the painters followed.

Works

• Self-portrait in a Convex Mirror, c. 1523
• The Vision of Saint Jerome, 1526
• Madonna with the Long Neck, 1534–1540