Site Map

PREHISTORIC & ANCIENT ART
Prehistoric Art
Ancient Kingdoms
Ancient East
Ancient  Aegean Art

The Art of the Greeks
Italic Art
THE ANCIENT WORLD FROM THE ROMAN EMPIRE TO THE FOURTH CRUSADE

Roman Empire
The Early Christians
Barbarian Art
Byzantine Art
Carolingian to Romanesque

Persian and Islamic Art
Far East
Sub-Saharan Africa
FROM THE GREAT CITIES OF EUROPE TO THE FOUR CORNERS OF THE WORLD

Gothic Art
The Early Renaissance
The High Renaissance

The 17th Century
The 18th Century

The Art of Asia
Pre-Columbian Art
ART, COMMERCE & INDUSTRY

Neoclassicism
Romanticism
Orientalism
A Return to the Past

Official Art
The Creation of the Metropolis
Art, Technology and Industry
Furnishings and Fashions
The European Influence
A CRISIS OF TRADITION & THE BIRTH OF CONTEMPORARY ART

The Birth of Realism
The Impressionism

Post-Impressionism
The Modern Style

Sub-Saharan Africa
The Pacific
ART OF THE 20TH CENTURY

Expressionism and Fauvism
Avant-garde Movements
The New Architecture
Art and Politics

Art in the Postwar Period
The New Avant-garde and Postmodernism
Architecture
Towards a New Century
 
 




The Early Renaissance


   

 


Pinturicchio
 
 
 

 

 
 
 
 
 
 

 
 


 

ABBATE, Niccolo dell'
Italian painter (b. 1509, Modena, d. 1571, Fontainebleau)
4 Deer Hunt
1550-52
Oil on canvas
Galleria Borghese, Rome
 
5 Orpheus and Eurydice
-
Oil on canvas, 188 x 237 cm
National Gallery, London
 
6 The Rape of Proserpine
-
Oil on canvas
Musée du Louvre, Paris
 
7 The Continence of Scipio
-
Oil on canvas
Musée du Louvre, Paris
 

 

PRIMATICCIO, Francesco
(b. 1504, Bologna, d. 1570, Paris)


 

Biography

 

Primaticcio was the head of the First School of Fontainebleau, and a universal impresario - painter, sculptor, architect, interior decorator. He learned these arts under Giulio Romano in the Palazzo del Tè at Mantua, from 1525/6 until 1532, when he was summoned to France by François I and began to work at Fontainebleau, where he met Rosso. From 1540 until 1542 he was in Rome buying for François, and on his return he found that Rosso was dead and Cellini had arrived (Cellini later threatened to kill him 'like a dog'). With Niccolò dell'Abbate he worked on the (lost) decorations of the Galérie d'Ulysse at Fontainebleau, and in 1546 he was again in Rome to get casts made, including Michelangelo's Pietà in St Peter's, while in 1563 he revisited Bologna, his native town, and met Vasari there.

There are works by him in Barnard Castle (Bowes Museum), Bologna, Chantilly, Florence (Uffizi), Glasgow, Montpellier, Paris (Louvre and Cluny Museum), Pittsburgh, and Toledo Ohio, but his main contribution is the combination of painted and high relief stucco decoration evolved at Fontainebleau and still partially preserved there.

 

 

PRIMATICCIO, Francesco
Italian painter/architect (b. 1504, Bologna, d. 1570, Paris)
 
8 The Holy Family with Sts Elisabeth and John the Baptist
1541-43
Oil on slate, 43,5 x 31 cm
The Hermitage, St. Petersburg
 
9 The Rape of Helene
1530-39
Oil on canvas, 155 x 188 cm
Bowes Museum, Barnard Castle
 
10 Royal Staircase (detail)
1530s
Stucco
Apartments of the Duchesse d'Étampes, Fontainebleau
 
11 Royal Staircase (detail)
1530s
Stucco
Apartments of the Duchesse d'Étampes, Fontainebleau
 

 

ROSSO FIORENTINO
(b. 1494, Firenze, d. 1540, Paris)


 

Biography

 

Italian painter and decorator, (also called IL ROSSO, original name Giovanni Battista di Jacopo Rosso) an exponent of the expressive style that is often called early, or Florentine, Mannerism, and one of the founders of the Fontainebleau school.

Vasari says that he 'would not bind himself to any master' (a story that fits in with his individuality of temperament), but in his youth he learned most from Andrea del Sarto, and together with Andrea's pupil Pontormo (Rosso's friend and close contemporary) he was one of the leading figures in the early development of Mannerism. The earliest works of Rosso and Pontormo combined influences from Michelangelo and from northern Gothic engravings in a novel style, which departed from the tenets of High Renaissance art and was characterized by its highly charged emotionalism. Rosso's work was highly sophisticated and varied in mood, ranging from the Assumption (1517; fresco at SS. Annunziata, Florence) to the refined elegance of the Marriage of the Virgin (S. Lorenzo, Florence, 1523), to the violent energy of Moses and the Daughters of Jethro (Uffizi, Florence, c.1523) and to the disquieting intensity of the Deposítion (Galleria Pittorica, Volterra, 1521).

At the end of 1523 Rosso moved to Rome, where his exposure to Michelangelo's Sistine ceiling, the late art of Raphael, and the work of Parmigianino resulted in a radical realignment of his style. His Dead Christ with Angels (c. 1526) exemplifies this new style with its feeling for rarefied beauty and subdued emotion. Fleeing from the sack of the city in 1527, he worked briefly in several central Italian towns. In 1530, on the invitation of Francis I, he went to France (by way of Venice) and remained in the royal service there until his death. Vasari, whose biography of Rosso also includes an entertaining story about his pet baboon, says that he killed himself in remorse after falsely accusing a friend of stealing money from him, but this may well be apocryphal.

Rosso's principal surviving work is the decoration of the Galerie François I at the palace of Fontainebleau (c. 1534-37), where, in collaboration with Francesco Primaticcio, he developed an ornamental style whose influence was felt throughout northern Europe. His numerous designs for engravings also exercised a wide influence on the decorative arts both in Italy and in northern Europe.
 

 

12The Nymph of Fontainebleau, ca. 1545–54
Pierre Milan (French, active Paris ca. 1542, died after 1557), and René Boyvin (French, ca. 1525–after 1580), after Rosso Fiorentino (Italian, Florentine, 1494–1540)
13The Nymph of Fontainebleau
French (Fontainebleau) Painter, third quarter of 16th century
Oil on wood; 26 x 47 3/4 in. (66 x 121.3 cm)
 
14The Birth of Cupid
Master of Flora (Italian, Fontainebleau, second half of 16th century)
Oil on wood; Overall 42 1/2 x 51 3/8 in. (108 x 130.5 cm), including added strip of 3 1/2 in. (8.9 cm) at top
 
15?????????????School of Fontainebleau, late 16th/early 17th Century???????????
The Contest of Apollo and Pan
16The Contest between Athena and Poseidon, ca. 1543
Antonio Fantuzzi (Italian, Bolognese, active at Fontainebleau 1537–45), after Rosso Fiorentino (Italian, Florentine, 1494–1540)
 
"Allégorie de l'eau"17Musée du Louvre, Paris
18
SCHOOL OF FONTAINEBLEAU | Venus & Mars. | Mid 16 c | French | Mannerist | | Fontainebleau. France. | | ©Kathleen Cohen |

Your current search criteria is: Related to  FIRST SCHOOL OF FONTAINEBLEAU (active c. 1530 - 1560)
 

19

School of Fontainebleau, The Triumph of Chastity

20Fontainbleau School, Venus and Cupid.

 

   
Discuss Art

Please note: site admin does not answer any questions. This is our readers discussion only.

 
| privacy