Germain Pilon was one of the best French sculptures of his time period, thanks to his father who taught him how to sculpt in their own workshop. Some of Germain’s best work such as Tomb of Catherine de Medici, and Three Graces holding the heart of Henry II, he worked alongside Francisco Primaticcio who was known for his style that was a combination of stucco work and mural painting. Germain Pilon was known for his medalist and portrait sculptures using materials such as bronze, marble terracotta and wood. During the 1570’s Germain Pilon gained the tittle of ‘sculpture to the king’ for Charles IX. Even though no large scale work from the 1570s stayed intact during Germains rain to the king Charles IX, he was still one of the best sculptures of his time. …show more content…
Francisco Primaticcio was a huge imprecation to Germain Pilon because of the early mentoring for him.
He was known for his responsibilities from interior decoration to being an architect for the design of buildings, which is why Germain thought greatly of him and wanted to work with him on the tomb of Henry II, and the three graces. Those two together were unstoppable, Francisco would a lot of the design, while Germain would do most of the sculpting and would have a beautiful resolution. During Germain’s early years of sculpting, he learned a lot from Francisco since he was open for knowledge. However, Germain developed his style by combining Fontainebleau with Clements, the Gothic tradition, and Michelangelo, and by using marble, bronze, wood and terra
cotta. One of Germain Pilon’s most famous tomb is the, Tomb of Catherine de Medici. Germain built this tomb for around 1565 is now located inside the Basilica. Germain Pilon worked alongside Primatrice, and Ponce Jacquio. Germain constructed the tomb out of marble in various colors which shows a stunning example of his mannerist style. Even though Germain Pilon put such great effort into this sculpture, Catherine de Medici inspected it thoroughly and decide that it was too weak for her standards, she ended up refused the tomb and ordered a new one to take its place. Many of Germains tombs were sadly destroyed in the French Revolution. Another magnificent piece of art Germain Pilon has done is the, The Three Graces, made around the 1560s. These statues are made of marble, and is of three ladies wearing heavy draped, with their figures intertwined stand in a circle motionless. According to http://explorecu.org the three women that are sculpted are of Aglaia, Thalia, and Euphrosyne, which personified beauty, charm, and grace, and were known as smiling goddesses whose presence brought joy to the world. Germain Pilon was not only talented at sculptures, he also made coins for numerus people, and was an excellent drawer. A coin that he has done is called the Catherine de' Medici made in about the 1540s to the 1590s put together out of bronze. Though Germain was not known for this, he in fact was a good drawer, he had to be so he could plan out everything he sculpts. All in all, Germain Pilon was much achieved, such as being well-rounded at all forms and sadly left no one to take the talent and the style he brought. Overall Germain Pilon brought creativity and happiness to influence the renaissance period.
La Pietà of Giovanni Della Robbia is amazing religious glazed and painted terracotta dated 1510-1520. It was mainly intended to introduce the meaning of the Bible story to large and mainly illiterate audiences. One of the things that this image can tell us about life in western civilization is how much the artists were focused on translating the bible and trying to understand it without the help of the Catholic Church through art and humanism. La Pietà is one of the richest and best known collections of Della Robbia sculptures at the springtime of the renaissance. The creator of the sculpture is Giovanni Della Robbia; the first and epic of a dynasty of important pottery artists, decorators, potters, and terracotta workers. Della Robbia developed a unique pottery glaze that made his creations much more durable in the outdoors and therefore much suitable for use on the exterior of buildings. This was an extraordinarily formal and refined technique that immediately met with great success, so much so that the Della Robbia family’s work flourished for over one hundred years. It uniquely combines archaeometric and stylistic time-related information about the renaissance age in Western Civilization. In its context, La Pietà was created in the 15th century, the renaissance age , when there was a surge in artistic, literary, and scientific activity , especially in Florence, the third largest city in Europe, an independent republic where the Italian Renaissance began, and a banking and commercial capital after London and Constantinople. The renaissance era when this sculptured was created was also marked by few major events such as: religious problems in church, Erasmus publishing Greek edition of the New Treatment ...
...laced on the style and materials presented in the painting. While evaluating and comparing various paintings the author feels that at the beginning of the Renaissance era the skill level of the artist was often not acknowledged whereas materials were, but at the end of the era, skill level played a larger factor in who was chosen to complete the artwork. Therefore, fresco painting, which emerged near the end of the period, changed this so called “deposit”, along with the relationship of the artist and the patron, allowing for the talent and skill of the artist to shine.
As you walk into the Los Angeles County Museum of Arts (LACMA), the sheer amount of paintings to view can be overwhelming but each is a masterpiece of its own as you pass by each art frame by frame from all different time. Francois Boucher, one of the greatest artist in the 18th century, was born in Paris, France on 1703 and later died on May 30th 1770. A painting that stands out is the Monument to Mignard, a painting Francois Boucher created around 1735 using oil on canvas with the dimensions of 28 ½ x 22 5/8 in. (72.39 x 57.47 cm). The Monument to Mignard has a lot of visual elements as you take a closer look and with imagination; people can conjure up the content of this masterpiece.
...understandable of making use of perfect architectural form as geometry, in terms of believe and as well as architecture. His design was straight to the point , making use of geometrical shape and it’s magnificent meaning which itself emphasises a perfect form and perfect centre point at its middle, which itself is a powerful remark on the focus point of the building (crucifixion spot at Tempietto and the pulpit at the Basilica) this achievement is more effective rather than using of coloured and expensive material ,gold ,sculpture ,painting ,large windows and light or other architectural elements which Baraque architecture used to bring about the attraction and highlight it’s point in the building.(the Alter of Grace at Church of Vierzehnheiligen)
Jacques Callot (1592-1635) was recognized as “The Father of French Etching”. Callot seemed to master the art form quickly and he influenced many in the process. His work in a series of prints titled ...
Charles Champoiseau uncovered pieces of masterfully worked Parian marble in April of 1863.1 On Samothraki, the island from which Poseidon is said to have watched the fall of Troy, these segments of stone came together to form four main sections: a torso, a headless bust, a section of drapery, and a wing.2 The sections were shaped to be assembled though the use of cantilevering and metal dowels, allowing the sculptor to extend beyond medium’s gravitational limitations (fig. 2). Just one year later, the pieces were assembled (and those missing were remodeled), and the Greek goddess Nike was revealed at the Louvre.
In my examination of the works, I came across a particular sculpture that portrayed both beauty and craftsmanship. A 15th century sculpture (1490), made in Venice, Italy by Tullio Lombardo, shows a life-size figure of Adam. Titled Adam, the work is the most prominent in the gallery mostly because of its 6-foot standing. It immediately caught my attention and gave me a very realistic impression. One beige color and made of marble, Adam is depicted simply, yet the statue has intense emotions. His meaningful glance is seen in the upward and tilted head position. Adam has almost lifeless looking eyes and seems to be staring into the distance. With these sagging eyes, parted lips, and lacking posture I feel Adam’s guilt is displayed in this figure.
Mathias Grunewald (c. 1470-1528) was a German painter who created the Isenheim Altarpiece between 1512 and 1516. This work consists of different wings that fold out to reveal more of the work (Collings, 2007) (including the crucifixion of Christ), is on the display at the Unterlinden Museum at Colmar, Alsace, France, and was commissioned for the Monastery of Saint Anthony in Isenheim, near Colmar. On one of these wings is the figure of Saint Anthony of Egypt, whose temptation has been the inspiration for many works of art as well as literature. Unlike other artists of the Renaissance period, Grunewald’s paintings depict religious figures as artists of the middle ages had done, creating imagery for the Church in Rome. And while the Isenheim Altarpiece, and indeed the Temptation of Saint Anthony, was commissioned b...
Art was viewed in a different sense in the fourteenth century. It had a more active role and was not just decoration, but a vital component of worship and pr...
The Renaissance Period is widely known for the abundance of amazing portraiture that circulated around Europe. During the Renaissance, Albrecht Dürer, a German artist painted a self-portrait in 1500 that had qualities that differed from the usual style of artist in that time (Chauhan). Jean Clouet also painted a portrait for the King of France and became the official court painter. Both artists had a talent for portraiture, while their styles were quite different. King Francis I wanted to be seen as a powerful man, and appointed Clouet to paint him in a classically renaissance way that highlights his wealth and authority. Dürer, described as a cocky, self-centered man, painted himself in a light that is unique and puts him on a ‘holy’ pedestal (Stokstad 356). In this essay I will show how although both paintings have clear differences with their style, both men in the compositions are conveyed in a great and very powerful sense.
Even thought during 15th century, Northern Europe experienced numerous alterations in representation of pictorial space, this paper will only address two of the major changes. They include “MAN IN A RED TURBAN” which was developed by Jan van Eyck in 1433 and “DIPTYCH OF MAARTEN CAN NIEUWENHOVE” developed by Hans Memling in 1487. In these two arts, the sculptors used colored pigments, drying oils such as walnut, linseed, and poopy-seed oil. The tools included wood panel, canvas, wall, brushes, and spatulas (Pearson, 2005; Fuga, 2006).
Titian’s style of art, and his masterful techniques with religious art, mythical compositions, and successive glazes have never been surpassed. They influence generations of artists to come, and will continue to do so as long as his work is studied. His place in the Italian High Renaissance will never be overlooked.
Peter Paul Rubens, the epitome of influential educated artist of the 17th century, studied the “works of Veronese, Tintoretto, Titian and Caravaggio.” (Baroque Art n.d.) and even went through the hassle of reproducing one of Leonardo’s drawings to show that he had understood the composition and style of Italian Renaissance art. Having been raised in Belgium, Peter Paul Rubens was familiar with Flemish Traditional art which was primarily landscape and portraiture, consisted of vivid detail with reserved composition.
O’Donnell, Sr., Joseph J.. “Art and the French Revolution”. The Eerie Digest, May 2013. Web. 5th May 2013.
Although Gaudi was one of the lead innovators of Art Nouveau and Modernisme in the world at the time and in Barcelona, eventually his style developed into something completely his own and his originality is un-marveled. His style can be connected to many different types including Spanish, late gothic, Moroccan, Spanish baroque and an important stress on exuberance, fantasy and nature. Gaudi sought to make his creations look as though they had risen from the ground especially that of his life work, Sagrada Familia. He also believed in using what was around him and also recycling things into beautiful creations like the chimney caps of Casa Mila and many other buildings of his. This was sort of his forte and he was amazing at it. This may be in bad taste, but it is brimful of vitality and handled with ruthless audacity.