一个留着胡子的人的头像在左边，可能是诗人乔治·安塞尔米（Giorgio Anselmi，约1459-1528年）的肖像，带有骷髅头的模糊素描 - 美国大都会艺术博物馆展品查阅

品名（中）	一个留着胡子的人的头像在左边，可能是诗人乔治·安塞尔米（Giorgio Anselmi，约1459-1528年）的肖像，带有骷髅头的模糊素描
品名（英）	Head of a Bearded Man in Profile to Left, possibly the Portrait of the Poet Giorgio Anselmi (ca. 1459-1528), with Faint Sketch of a Skull-like Head
入馆年号	1973年，1973.321
策展部门	绘画和印刷品（Drawings and Prints）
创作者	Parmigianino (Girolamo Francesco Maria Mazzola)【1503 至 1540】【意大利人】
创作年份	公元 1503 - 公元 1540
创作地区
分类	图画（Drawings）
尺寸	5 1/2 x 9 1/16英寸 (13.9 x 23厘米)
介绍（中）	Parmigianino的肖像画（自画像除外）非常罕见。这张精心绘制的纸的左半部分显然是帕尔马政治家和人文主义者乔治·安塞尔米的肖像。尽管安塞尔米在他那个时代被誉为古典拉丁传统中的颂歌和爱情诗作家，但他今天几乎被遗忘了。铭文肯定在Parmigianino手中，因为红色粉笔的色调与图纸上完全相同，这可能确定了这位诗人的确切死亡日期，即1530年9月21日。床单右半部分的头骨草图无疑构成了一个"纪念日"，下面的铭文很可能指的是诗人的死亡日期，尽管这与Ireneo Affå18世纪末关于安塞尔米在1528年席卷帕尔马的大瘟疫中死亡的描述相矛盾（Memorie di scrittori e letterari parmigiani，Parma，1791；Quattrucci 1961）。安塞尔米被认为出生于1459年之前，尽管这一点没有记录在案。Parmigianino的画作在风格上属于1530-5年左右，很可能是为安塞尔米在那十年里的一部文学作品的后期印刷而准备的雕刻插图（卡门·C·班巴赫）
介绍（英）	Portrait drawings by Parmigianino (other than self-portraits) are quite rare. The left half of this delicately drawn sheet is apparently a portrait of the Parmese statesman and humanist Giorgio Anselmi 'nepote' ('nephew'). Although Anselmi was celebrated in his day as a writer of odes and love poetry in the classical Latin tradition, he has all but been forgotten today. The inscription, which is certainly in Parmigianino's hand as the hue of the red chalk is exactly the same as in the drawings, may establish the poet's precise death date, 21 September 1530. The slight sketch of the skull on the right half of the sheet undoubtedly constitutes a 'memento mori,' and the inscription below may well refer to the poet's date of death, although this contradicts Ireneo Affò's late eighteenth-century account of Anselmi's demise in the great plague that swept through Parma in 1528 (Memorie di scrittori e letterari parmigiani, Parma, 1791; Quattrucci 1961). Anselmi is thought to have been born before 1459, although this is not documented. Parmigianino's drawing belongs stylistically to around 1530-5, and it may well have been preparatory for an engraved illustration accompanying a posthumous printing of one of Anselmi's literary works during that decade. (Carmen C. Bambach)