The Triumph of the City


The High Renaissance


(Renaissance  Art Map)


chool of Fontainebleau


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. 



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.


An Allegory Of The Triumph Of Spring


The Triumph of Winter
c. 1568
Oil on canvas, 103 x 179 cm
Private collection


Blutbad der Triumvirn


Portrait of a Lady
tempera on panel
Pinakothek at Munich



Christus und die Ehebrecherin



Dionysius the Areopagite Converting the Pagan Philosophers



The Triumph of Mars
ca. 1570



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