(after 1556) at Fontainebleau and the chapel of the Hôtel
du Guise in Paris. His elegant Mannerist style influenced
French artists of the following generation.JEAN-BAPTISTE OUDRY
Paris i686-Beauvais 1755
Oudry received his earliest artistic training from his fa-
ther. He then served as apprentice to the portraitist Ni-
colas de Largillierre from circa 1707 to 1712 and took
courses at the Académie de Saint-Luc. His talent as a his-
tory and genre painter and portraitist is evident in Abun-
dance with Her Attributes (Musée Nationale du Château de
Versailles), his reception piece for the Académie in 1719.
Beginning in 1722 he concentrated on still lifes and hunt
scenes, such as the large Stag Hunt of 1723 (Stockholm,
Nationalmuseum). Oudry was presented to Louis XV
by one of his patrons and soon received commissions
from the king, including one for a painting, Roe Hunt, of
1725 (Rouen, Musée des Beaux-Arts) for the chateau at
Chantilly. Oudry's fame was secured with Louis XV
Hunting a Stag in the Forest of Saint-Germain of 1730 (Mu-
sée des Augustins), a painting much admired by the king,
who then commissioned the artist to design a tapestry se-
ries on the royal hunt. In addition to Louis XV, the kings
of Sweden and Denmark were Oudry's patrons. He
showed regularly at the Salon from 173 7 until 1753, when
illness forced him to give up painting.
FRA PAOLINO (Paolo del Signoraccio)
Pistoia circa 1490-1547
Fra Paolino is best known as a follower of Fra Bartolom-
meo, whose serene classicism was the dominant influ-
ence on the younger artist. Paolo received his earliest ar-
tistic training from his father, a minor painter in Pistoia.
On moving to Florence, he joined the Dominican order
at the monastery of San Marco, where he became Fra
Bartolommeo's pupil and assistant. Circa 1509-13 Fra
Paolino probably also worked under the direction of
Mariotto Albertinelli, Fra Bartolommeo's sometime col-
laborator in the school of San Marco. Fra Paolino inher-
ited a large corpus of Fra Bartolommeo's drawings on
the latter's death in 1517 and thereby continued to draw
inspiration from his master. Fra Paolino's Pietà of 1519
(Florence, Museo di San Marco) is strongly reminiscent
of Fra Bartolommeo's depiction of the same subject of
circa 1511-1 2 (Palazzo Pitti). Fra Paolino painted tradi-
tional altarpieces, such as the Madonna and Child with
Saints of circa 1530 (San Gimignano, Sant'Agostino), for
various churches in Tuscany throughout the 15205 and
'305. His drawing style is, understandably enough, close
to that of Fra Bartolommeo, exhibiting a similar interest
in sfumato effects.
BERNARDO PARENTING
Parenzo 1437-Vicenza 1531
The long-lived Parentino is best known as a follower of
Francesco Squarcione and Andrea Mantegna. Few de-
tails are known concerning Parentino's life. He seems to
have been active as a painter chiefly in Padua, although
he also worked in Verona and Mantua. Among his early
paintings is an Adoration of the Magi (Louvre) and a Con-
version of Saint Paul (Verona, Museo del Castelvecchio),
both dated to the 14705. During the early 14905 Parentino
was engaged in the fresco decoration of the convent of
Santa Giustina, Padua, with scenes from the life of Saint
Benedict. Parentino's style also indicates the influence of
Ferrarese artists such as Cosimo Tura and Ercole de' Ro-
berti, as is evidenced by Christ with Saints Jerome and Au-
gustine of circa 1500 (Modena, Galleria Esténse). The
many drawings attributed to Parentino are typically
mantegnesque in style and often incorporate motifs from
classical antiquity.PIERRE-ADRIEN PARIS
Besançon 1745-1819
The son of an architect, Paris lived near Basel as a youth.
In 1760 he moved to Paris to further his architectural
studies under the direction of François Trouard. Between
1769 and 1774 Paris stayed at the French Academy in
Rome. On his return to France he organized royal cere-
monial occasions as dessinateur to the king. In 1780 he was
accepted as a member of the Académie. In 1783 he made
a second trip to Italy to further study the excavations at
Pompeii and Herculaneum. Back in Paris, he worked for
Louis XVI on an architectural project for Versailles that
was never realized. Paris became director of the French
Academy in Rome in 1806 and there supervised the ex-
cavations at the Colosseum. In 1817 he returned to his
native city, where he died two years later. Pâris's oeuvre
consists mainly of drawings for architectural projects
and of antique ruins and artifacts, many of which were
engraved. He also collected the works of other artists,
including Jean-Honoré Fragonard and Hubert Robert.PARMIGIANINO (Francesco Mazzola)
Parma 1503-Casalmaggiore 1540
Parmigianino worked as a painter, draughtsman, and
etcher. His uncles Pier Ilario and Michèle Mazzola pro-
vided his early training, but the example of Correggio
was the major stimulus to his early development. Be-
tween 1522 and 1524 Parmigianino worked on the dec-
orations for several chapels in San Giovanni Evangelista,
Parma. In 1524 he traveled to Rome, carrying with him
the unique, undated Self-Portrait in a Convex Mirror (Vi-ARTISTS BIOGRAPHIES 339