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The Triumph of the
City
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The High Renaissance
&
Mannerism
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(Renaissance
Art Map)
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School of Fontainebleau
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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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Antoine
Caron
one of the few significant painters in France during the reigns of
Charles IX and Henry III; his work is notable for reflecting the elegant
but unstable Valois court during the Wars of Religion (1560–98).
Caron was hired by Francesco Primaticcio, an Italian Mannerist painter,
between 1540 and 1550 to work on the embellishment of the château of
Fontainebleau. After the ascension of Henry III, he was commissioned to
paint a series of works on the Story of Artemis, glorifying the
widowhood of the queen mother, Catherine de Médicis; they were later
made into tapestries.
Caron's few existing works fall into three main categories: Allegorical
topics, representing the life of the Valois court, including “Triumph of
the Seasons,” with its depiction of parties, picnics, and orchestras;
the Artemis series; and “History of the Kings of France.” Paintings on
the theme of massacre, such as “Massacre Under the Triumvirate,”
recalling the bloodshed of the Wars of Religion. Fantasy and magic, as
in “Astrologers Studying an Eclipse” and “Augustus and the Tiburtine
Sibyl.” The allegorical treatmentof court life, the violence, and the
magic all express salient aspects of life in the late 16th century.
Stylistically, Caron was a Mannerist. His elongated figures, in twisted
postures and with small heads and tapering arms and legs, frequently
inhabit vast spaces. Caron's exaggerated perspective, in which the forms
seem to disappear into space, and his nonnaturalistic use of colour are
also in the Mannerist style.
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 An Allegory Of The Triumph Of Spring
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The Triumph of Winter
c. 1568
Oil on canvas, 103 x 179 cm
Private collection
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Blutbad der Triumvirn
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Portrait of a Lady
1577
tempera on
panel
Pinakothek at Munich
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Christus und die Ehebrecherin
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Dionysius the Areopagite Converting the Pagan Philosophers
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The Triumph of Mars
ca. 1570
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