Dictionary of Art and Artists



 

 


History of

Architecture and Sculpture

 
 

 

 
 

 
 

CONTENTS:

 
 

PART ONE
THE ANCIENT WORLD
PREHISTORIC ART
EGYPTIAN ART

ANCIENT NEAR EASTERN ART
AEGEAN ART
GREEK ART
ETRUSCAN ART
ROMAN ART
EARLY CHRISTIAN AND BYZANTINE ART

PART TWO
THE MIDDLE AGES
EARLY MEDIEVAL ART
ROMANESQUE ART
GOTHIC ART

PART THREE
THE RENAISSANCE THROUGH THE ROCOCO
LATE GOTHIC
THE EARLY RENAISSANCE IN ITALY
THE HIGH RENAISSANCE IN ITALY
MANNERISM AND OTHER TRENDS
THE RENAISSANCE IN THE NORTH
THE BAROQUE IN ITALY AND SPAIN
THE BAROQUE IN FLANDERS AND HOLLAND
THE BAROQUE
THE ROCOCO

PART FOUR
THE MODERN WORLD
NEOCLASSICISM AND ROMANTICISM
REALISM AND IMPRESSIONISM
POST-IMPRESSIONISM, SYMBOLISM, AND ART NOUVEAU

PART FIVE
TWENTIETH-CENTURY
TWENTIETH-CENTURY SCULPTURE
TWENTIETH-CENTURY ARCHITECTURE


INDEX
FIGURES
 

 
 

 
 

CHAPTER FIVE
 

THE RENAISSANCE IN THE NORTH
 

Painting
Architecture and Sculpture - Part 1, 2, 3, 4, 5, 6, 7
 
 


SCULPTURE
 


Jean Goujon
 

 



Jean Goujon

Jean Goujon, (born c. 1510, Normandy?, Fr.—died c. 1568), French Renaissance sculptor of the mid-16th century.

The earliest record of Goujon’s activity as an architectural sculptor dates from 1540 at Rouen. His mature mastery was first reflected in a screen relief depicting the deposition of Christ from the cross (1544–45; Louvre). Created for the Church of Saint-Germain l’Auxerrois, Paris, this work marked the beginning of his collaboration with architect Pierre Lescot and exemplifies his personal version of Mannerism. Goujon’s masterpiece is the set of six relief figures of nymphs (1547–49) that originally ornamented the Fontaine des Innocents in Paris. The elongated figures of these nymphs, confined within narrow rectangular panels, are exquisitely adorned with a linear play of rippling draperies. Goujon’s reliefs on the court facade of the old Louvre (c. 1549–53) were marred by inept restoration in the 19th century. The later of these, in the attic portion, show a bolder relief, freer from his earlier architectural restraint. The great hall inside contains his most ambitious sculpture, especially the gallery caryatids carved in the round, which were also falsified by restoration. Goujon’s career after 1562 remains obscure, though as a Protestant he may have fled the hostile Roman Catholic atmosphere of Paris.

 

 

 


Jean Goujon. Salle des Cariatides
1550s
Stone
Palais du Louvre, Paris


Jean Goujon. Caryatides
1550
Marble
Palais du Louvre, Paris


Jean Goujon. The Seasons: Spring and Summer
1550-56
Stone
Hetel Carnavalet, Paris


Jean Goujon. The Seasons: Autumn and Winter
1550-56
Stone
Hetel Carnavalet, Paris


Jean Goujon. Naiad
1547-49
Stone, 74 x 195 cm
Musee du Louvre, Paris


Jean Goujon. Pieta
1544-45
Stone, 67 x 182 cm
Musee du Louvre, Paris





Jean Goujon. Nymph and Putto, 1547-49, stone, Musee du Louvre, Paris





Jean Goujon. Nymph and Putto, 1547-49, stone, Musee du Louvre, Paris





Jean Goujon. Diane and the Stag
1550-54
Marble, 211 x 258 x 135 cm
Musee du Louvre, Paris




Jean Goujon. Diane and the Stag
1550-54
Marble, 211 x 258 x 135 cm
Musee du Louvre, Paris




Jean Goujon. The bronze sculpture Diana with a Stag, c. 1549 in Nobelparken (the Nobel Park) in Stockholm, Sweden




Jean Goujon. The bronze sculpture Diana with a Stag, c. 1549 in Nobelparken (the Nobel Park) in Stockholm, Sweden

 
 

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