Francis I and the art of the Netherlands.
Somogy| N° d'inventaire | 21016 |
| Format | 25 x 30.5 |
| Détails | 480 p., 435 illustrations, hardcover. |
| Publication | Paris, 2017 |
| Etat | Nine |
| ISBN | 9782757213049 |
While Francis I's taste for Italian art is well known and his patronage is essentially identified with the creation of the Italianate center of Fontainebleau, his reign is nonetheless part of a very lively tradition of establishing artists from the Low Countries in France. The best known of these northern artists active in France during his reign, Jean Clouet and Corneille de La Haye, known as Corneille de Lyon, specialized in portraiture. But both in Paris and in the Norman, Picard, Champagne, and Burgundian centers, a wave of northern influences flourished, mainly in the art of illuminated manuscripts and religious painting, which recent research has gradually revealed by resurrecting artists who had unjustly fallen into oblivion. Godfrey the Batavian, Noël Bellemare, Grégoire Guérard, Bartholomeus Pons, and other anonymous but no less talented artists, who distinguished themselves in techniques as diverse as illumination, painting, stained glass, tapestry, and sculpture. The king also purchased a large number of tapestries, goldwork, and Flemish paintings. The exhibition thus brings to light a little-known aspect of the French Renaissance and aims to explore its variety, extravagance, and monumentality.
While Francis I's taste for Italian art is well known and his patronage is essentially identified with the creation of the Italianate center of Fontainebleau, his reign is nonetheless part of a very lively tradition of establishing artists from the Low Countries in France. The best known of these northern artists active in France during his reign, Jean Clouet and Corneille de La Haye, known as Corneille de Lyon, specialized in portraiture. But both in Paris and in the Norman, Picard, Champagne, and Burgundian centers, a wave of northern influences flourished, mainly in the art of illuminated manuscripts and religious painting, which recent research has gradually revealed by resurrecting artists who had unjustly fallen into oblivion. Godfrey the Batavian, Noël Bellemare, Grégoire Guérard, Bartholomeus Pons, and other anonymous but no less talented artists, who distinguished themselves in techniques as diverse as illumination, painting, stained glass, tapestry, and sculpture. The king also purchased a large number of tapestries, goldwork, and Flemish paintings. The exhibition thus brings to light a little-known aspect of the French Renaissance and aims to explore its variety, extravagance, and monumentality.