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The Triumph of the
City
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The High Renaissance
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Mannerism
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(Renaissance
Art Map)
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School of Fontainebleau
Primaticcio
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Fontainebleau school
[Fr. Ecole de Fontainebleau].
Term that encompasses work in a wide variety of media,
including painting, sculpture, stuccowork and printmaking,
produced from the 1530s to the first decade of the 17th
century in France. It evokes an unreal and poetic world of
elegant, elongated figures, often in mythological settings,
as well as incorporating rich, intricate ornamentation with
a characteristic type of strapwork. The phrase was first
used by Adam von Bartsch in Le Peintre-graveur (21
vols, Vienna, 1803–21), referring to a group of etchings and
engravings, some of which were undoubtedly made at
Fontainebleau in France. More generally, it designates
the art made to decorate the château of Fontainebleau, built
from 1528 by Francis I and his successors, and by extension
it covers all works that reflect the art of Fontainebleau. With the re-evaluation of
MANNERISM in the 20th century, the popularity of the
Fontainebleau school has increased hugely. There has also
been an accompanying increase in the difficulty of defining
the term precisely.
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Primaticcio
born April 30, 1504, Bologna, Emilia [Italy]
died 1570, Paris, Fr.
also called Bologna, Le Primatice, or Primadizzi Italian Mannerist
painter, architect, and leader of the first school of Fontainebleau.
Primaticcio studied with Giulio Romano and assisted him in his work
on the decorations of the Palazzo del Te in Mantua. When the French
king Francis I invited Romano to assist in the redecoration of the
Fontainebleau Palace in 1531, Romano sent Primaticcio in his place,
and, once there, Primaticcio became one of the principal artists in
France.
In his initial work at Fontainebleau, Primaticcio employed a
decorative style that combined stucco work and mural painting. He
returned to Rome for a couple of years to purchase artworks for
Francis I, and on his return he decorated the Cabinet du Roi with a
series of paintings, now lost, that flouted rational perspective in
painting and stressed the primacy of the human figure. Primaticcio's
stylistic use of exaggerated musculature and active, elongated
figures in these works was to exert great influence on French
painting for the remainder of the 16th century.
In 1543 Primaticcio completed a number of decorations for the
bedchamber of the Duchesse d'Etampes; all of these works survive.
During this period he also completed work on the Galerie d'Ulysse
(1541–70) and the Salle de Bal (or Galerie Henri II). The former was
completely destroyed under Louis XV, and the latter has been heavily
restored. Primaticcio increased his use of foreshortening and
illusionistic treatment of subjects in his later work. His design
for the ceiling of the chapel of the Hotel de Guise in Paris (1557)
was to be the artist's last major work. For the last decade of his
life, Primaticcio collaborated with the sculptor Germain Pilon on
the tomb of Henry II in the abbey church of St. Denis near Paris. In
his decorations Primaticcio was one of the first artists in France
to replace religious themes with those of classical mythology. He
subdued the violence of Italian Mannerism, investing it with a quiet
and characteristic French elegance.
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The Holy Family with Sts Elisabeth and John the Baptist
1541-43
Oil on slate, 43,5 x 31 cm
The Hermitage, St. Petersburg
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The Rape of Helene
1530-39
Oil on canvas, 155 x 188 cm
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Danae
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Venus
and Cupid
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Odysseus und Penelope
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Der trunkene Bacchus
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Juno wakes up the dreams
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Venus and Cupid
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Internal of the Persepoli's Palace
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