By Henri Zerner
Harvard professor Zerner specializes in probably the most dynamic and flamboyant sessions in artwork historical past, the Renaissance in France. Renaissance paintings in France explains how the college of Fontainebleau, in its exaggerated splendor and complicated fantasies, mixed French sorts of medieval foundation with the Italianate ornamental kind. It fast got here to symbolize a excessive aspect within the improvement of Mannerism and laid the foundation for the discovery of French Classicism. the quantity showcases artists who excelled within the fantastic arts corresponding to court docket portraitist François Clouet and sculptor Jean Goujon, in addition to these operating in ornamental arts that still flourished in this interval: tapestry, stained-glass home windows, printmaking, and metalwork. With attractive illustrations and an obtainable textual content, it's all summed up the following in a single compact quantity.
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Extra info for Renaissance Art in France: The Invention of Classicism
Example text
At the church of Saint Jean of cel Chaumont in Francois I, in the years 151 7 —4 1 sensibility, invention, the chan- enters, ; the persistent and virtuosity of the of the Flamboyant are very One Champagne, and the transept were entirely rebuilt under much artists in evidence there. whether through the facade or the Saint Jean portal on the south side, into a thirteenth n I urc. flMMl ). church of Saint Gervais-Saint Protais, piers of the north side aisle. the 1517-27. Flamboyant arch surmounting the south door of the facade is interior of the supported by radically asymmetrical corbels; the one on the right form of an angel —while tion that the is in — the traditional motif for this posi- on the left, that follows the classic on the side of the chapel model, presents a female mask after Goujon (fig.
Even the ribbing does not pro- duce the effect anticipated, despite the care accorded. sents a dazzling is it was true that the apsidal vaulting pre- It is and explosive display. However, not so very striking because complex ribbing present almost throughout German as in certain — yet it it is does not attempt, or English churches, to unify the space of the nave by a continuous grid that would efface the compartmentalization of the Gothic vaults. Thus a distinction between the 43. Paris, church of Saint Eustache, nave.
The central slight there has having been unable to concentrate on the chancel as of the same height. —on prevails over the attempt at regularity. Despite a often higher and is recalls, all the chapels and exterior very bright while the sacred space, more enclosed, one this layout casualness and the taste for the picturesque largely the nave. Here, to the contrary, is are, as Within (fig. virtually finished began on the side which lateral chapels in an obvious effort to unify the space aisles continuity between the chapels and the side aisles and the classicizing style tunately lost the jube erected in 1570-72.