A Concise History of French Painting by Edward Lucie-Smith

By Edward Lucie-Smith

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Pontormo was his exact contemporary. His early influences were threefold: Andrea del Sarto, whom he learned from but reacted against; Michelangelo; and the German engravers who also influenced Pontormo, notably Diirer. for for the latest 35 22, 23 Rosso's early works are religious paintings - moving, tight-strung, 1 523 he went to Rome, where he of 'grotesque' ornament, combining animal and vegetable forms and ancient Roman motifs, which Raphael and his workshop had evolved for the Vatican. Rome was sacked in 1 527 by Imperial troops, and Rosso fled.

Maria in Vallicella, shows how Caravaggio used realism for religiou: ends. The dramatic chiaroscuro we see in this painting was to influence painters throughout the century, and it was to appeal especially to northern artists. The alternative to Caravaggio was offered by the Bolognese painter Annibale Carracci (1 560-1609), who was summoned to Rome in 1595 to paint frescoes in the Palazzo Farnese. If Caravaggio was a device, a 5i 43 realist, classicist. But it is imfrom the new manner which the excesses of Mannerism.

Mannerism and International Gothic had certain qualities in common, and these were what helped the new style to establish itself so swiftly. Both were luxurious, amusing. essentially 'Court' Both were designed sense of the fashionable, an appetite for the true of Mannerism and its styles: fantastic, wiltul, to appeal to people with a new. This was particularly public; the Renaissance had bred contempt what was traditional, and a corresponding respect for 'invention', and most unexpected ways of presenting things to the eye.

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