This dissertation aims to provide a comprehensive study of Francesco Salviati’s portraits, analyzed within a chronological framework. Traditional attributions are re-examined and recent discoveries included to establish a reliable core group of the artist’s portraits, one exhibiting a stylistic coherence. Salviati’s activities as a portraitist are placed in the historical, political, cultural and artistic context of his time, with particular emphasis on patronage. Versatile and well-connected, Francesco served a number of top-ranking patrons of his time, including Cardinal Giovanni Salviati, Pier Luigi and Alessandro Farnese (in Rome), Duke Cosimo I de’ Medici (in Florence), the Grimani family (in Venice), King Henri II, and the Cardinal of Lorraine in France. This study intends to navigate portraiture’s role in the relationships between the courtier-artist and his princely patrons. Characterized by innovation and experimentation, Salviati’s portraits vary in composition, media and supports. As one of the earliest artists to produce portrait miniatures in Italy, Francesco evidently introduced the genre to Cosimo I de’ Medici’s court to create an aura of a royal court equal to that in France and England. His experiments with the use of various stone supports for portraits are discussed in relation to his status as the leading painter in Rome after the death of Sebastiano del Piombo in 1547. Lastly, the artist’s career as a book illustrator is explored to shed light on his interactions with well-known literati of his time, such as Pietro Aretino, Anton Francesco Doni and Giambattista Gelli. The designs Salviati provided for their author portraits are not only testimony to their acquaintance, but also evidence of the artist’s participation in their intellectual communities. / Thesis (Ph.D, Art History) -- Queen's University, 2013-04-29 15:59:52.863

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La thèse est consacrée à l’œuvre de portraitiste de Parmigianino au cours des deux périodes parmesanes de sa carrière, depuis sa naissance en 1503 jusqu’à son départ pour Rome en 1524, puis de 1531 à 1540, date de son décès. L’objet de la recherche est d’élucider les significations propres à chacune des effigies du corpus et d’analyser les processus plastiques et sémantiques par lesquels le peintre a élaboré les discours figuratifs que constituent ses portraits, dans le contexte de leur commande, production et réception. A cette fin, on a opté pour une approche pluridisciplinaire. La thèse débute par une étude de l’histoire artistique de Parme de 1500 à 1540 et une analyse des pratiques du portrait dans cette ville, au regard de ses nombreuses relations avec d’autres centres culturels et artistiques (Milan, Venise, Bologne, Florence et Rome). L’histoire sociale et politique de Parme pendant la première moitié du Cinquecento est un autre sujet de la recherche. Son objet est l’articulation des transformations institutionnelles au sein de la comune, les conquêtes par plusieurs pouvoirs étrangers entre 1499 et 1520 jusqu’à la création du duché de Parme et Piacenza par Paul III en 1545 avec le marché et les pratiques du portrait. Après cette étude du contexte, chacun des portraits de Parmigianino est examiné de façon approfondie, à travers une approche trans-disciplinaire qui associe histoire de l’art, histoire culturelle (littérature, du livre et de l’édition, emblématique, traditions de la rhétorique, débats linguistiques), histoire sociale et politique. / The dissertation deals with Parmigianino’s activity as a portraitist during the two periods of time he spent in his native Parma, between 1503 and 1524 and then between 1531 and 1540. Its aim is to analyze the painter’s male portraits in particular, that is to to clarify their specific significances and, at the same time, to elucidate the visual and semantic processes through which Parmigianino elaborated the figurative discourses that his portraits convey, in the artistic, cultural, social and political context of their creation. To reach this goal, several methodological approaches are used. The disseration begins with a close study of the artistic history of Parma between 1500 and 1540 and an analysis of the traditions related to portraiture in the city, with regard to its many cultural and political relations to other regions and states (Milan, Venice, Bologna, Florence and Rome). The political history of Parma during the first half of the Cinquencento is an other field of research. Its purpose is to articulate the many institutionnal transformations of the comune, the conquest of Parma by several foreign powers between 1499 and 1520, until the creation of the Duchy of Parma and Piacenza by Pope Paul III, with the market and practices of portraiture. After this close examination of the context, Parmigianino’s portraits are analyzed through a trans-disciplinary approach that deals with art history, cultural history (literature, history of the book, emblems, traditions of rethoric, linguistic debates), social and political history).