Tatiana Thoennes

Art throughout time has been contained within frames and often housed by the constraints of a sculptural border. The art of Francesco Maria Mazzola, better known as Parmigianino (1503-1540), is no exception to this principle. Despite these physical restrictions, Parmigianino’s works have excelled in their innovation and creativity. Through the reconsideration of Parmigianino’s use of parergon and ergon, as advanced by the analysis of Jacques Derrida, containing, and his artistic elements employed, I will assert that the Bardi Altarpieceand Design for an Altarpiece in its Frame were meant to be displayed together. These art pieces shine light onto the artist’s creative process, his understanding of the mimetic nature of frames, and his use of centre and periphery. I will demonstrate how the similarities and connections that these two works share indicate they inherently belong together; as, they are the harmonious amalgamation of ergon and parergon … PDF

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