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(in Italian) Venancio Belloni, Pittura genovese del Seicento. Dal Manierismo al Barocco, EMMEBI, Genoa, 1969. |
(in Italian) Ezia Gavazza, La grande decorazione a Genova, Sagep, Genoa, 1974. |
(in Italian) Raffaele Soprani, Le vite de pittori, scoltori, et architetti genovesi. E de' Forastieri, che in Genova operarono, Bottaro e Tiboldi, Genova, 1674, pp. 268–272. |
Giulio Pippi (c. 1499 – 1 November 1546), known as Giulio Romano and Jules Romain (US: JOOL-yoh rə-MAH-noh, Italian: [ˈdʒuːljo roˈmaːno]; French: Jules Romain), was an Italian Renaissance painter and architect. He was a pupil of Raphael, and his stylistic deviations from High Renaissance classicism help define the six... |
Biography |
Giulio Pippi was born in Rome and he began his career there as a young assistant to the leading painter and architect Raphael. He became an important member of Raphael's large team working on the frescos in the Raphael Rooms and Vatican loggias using designs by Raphael and, later painting a group of figures in the Fire... |
On Raphael's death, Michelangelo attempted to take over completion of the commission for the Raphael Rooms at the Vatican, but along with Perino del Vaga, Giulio was able to keep it, as they had the drawings for much of the uncompleted work that was being executed under the supervision of Raphael. |
From 1522 he was courted by Federico Gonzaga, ruler of Mantua, who wanted him as court artist, apparently especially attracted by his skill as an architect. The contemporaneous historian of the Renaissance, Giorgio Vasari (1511–1574), tells how Baldassare Castiglione was delegated by Gonzaga to procure Giulio to execut... |
His masterpiece of architecture and fresco painting in Mantua is the suburban Palazzo Te, with its famous illusionistic frescos (c. 1525–1535) and his use of the Palladian motif for arches used in the design. He also helped rebuild the ducal palace in Mantua, reconstructed the cathedral, and designed the nearby Church ... |
In Italian Renaissance tradition, many works by Giulio were only temporary. According to Vasari: |
When Charles V came to Mantua, Romano, by the duke's order, made many fine arches, scenes for comedies and other things, in which he had no peer, no one being like him for masquerades, and making curious costumes for jousts, feasts, tournaments, which excited great wonder in the emperor and in all present. For the city... |
He traveled to France in the first half of the sixteenth century and brought concepts of the Italian style to the French court of Francis I. |
Giulio designed tapestries as well. It also is rumored that he contributed to a collection of drawings upon which a group entitled, I Modi, was engraved by Marcantonio Raimondi. All of those original drawings are said to have been destroyed because the content was no longer considered socially acceptable. |
Giulio Romano has the distinction of being the only Renaissance artist to be mentioned by William Shakespeare. In Act V, Scene II of The Winter's Tale, the statue of Queen Hermione that was described as coming to life during the play was identified by the bard as having been sculpted by "that rare Italian master, Julio... |
He died in Mantua in 1546. According to Vasari, his best pupils were Giovanni dal Lione, Raffaellino dal Colle, Benedetto Pagni, Figurino da Faenza, Giovanni Battista Bertani and his brother Rinaldo, and Fermo Guisoni. |
Architecture |
On the whole, Giulio Romano was more influential as an architect than as a painter and his works had an enormous impact on Italian Mannerist architecture. He learned architecture the same way he learned painting, as an increasingly trusted assistant to Raphael, who was appointed the papal architect in 1514 and his earl... |
The Villa Lante al Gianicolo (1520–21) was a smaller suburban villa in Rome, with a famous view over the city. Romano made the whole building suggest lightness and elegance to exploit the ridge-top position and to overcome the rather small Roman footprint. The orders are delicate, with Tuscan or Doric columns and pilas... |
His last building in Rome, the Palazzo Maccarani Stati (started 1522–23), was a considerable contrast, being a palazzo in the city centre, with shops on the ground floor, and a massive, imposing feel. The rustication and exaggerated size of keystones that were to be so prominent in his later buildings in Mantua, are al... |
His first building in Mantua has remained his most famous work in architecture. The Palazzo del Te was a pleasure palace outside the city that was begun around 1524 and completed a decade later. Here Giulio was able, because of the function of the building, to indulge to the full his playful inventiveness. |
Selected paintings and drawings |
Deesis with Saint Paul and Saint Catherine - Parma |
The Stoning of St. Stephen (Santo Stefano, Genoa): "Giulio never did a finer work than this," said Vasari. Domenico del Barbiere engraved the subject, so that it influenced designers who never saw the original in Genoa. |
Adoration of the Magi (Louvre) |
Fire in the Borgo, fresco (Raphael Rooms in Vatican City) |
Emblematic Figures, pen and brown ink and wash over graphite (Fine Arts Museum of San Francisco) |
Portrait of a Young Woman, after a design by Raphael, and later modified by Raphael (Musée des Beaux-Arts de Strasbourg) |
The Battle of the Milvian Bridge |
The Triumph of Titus and Vespasian |
Portrait of Doña Isabel de Requesens y Enriquez de Cardona-Anglesola |
Madonna of the Cat (National Museum of Capodimonte, Naples, 1522–23) |
Noli me tangere, Prado Museum, Madrid |
Adoration of the Shepherds in collaboration with Giovanni Francesco Penni, Prado Museum, Madrid |
Gallery of paintings by Giulio Romano |
Notes |
References |
Bibliography |
Talvacchia, Bette, "Giulio Romano." Grove Art Online, Oxford Art Online, Oxford University Press, accessed March 30, 2016, subscription required |
External links |
Media related to Giulio Romano at Wikimedia Commons |
Vita[1] by Giorgio Vasari, who describes his meeting with Giulio: |
"At this time Giorgio Vasari a great friend of Giulio, though they only knew each other by report and by letters, passed through Mantua on his way to Venice to see him and his works. On meeting, they recognised each other as though they had met a thousand times before. Giulio was so delighted that he spent four days in... |
The engravings of Giorgio Ghisi, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Giulio Romano (see index) |
Rossetti, William Michael (1911). "Giulio Romano" . Encyclopædia Britannica. Vol. 12 (11th ed.). pp. 52–54. |
Giuseppe Arcimboldo, also spelled Arcimboldi (Italian: [dʒuˈzɛppe artʃimˈbɔldo]; 5 April 1527 – 11 July 1593), was an Italian Renaissance painter best known for creating imaginative portrait heads made entirely of objects such as fruits, vegetables, flowers, fish and books. |
These works form a distinct category from his other productions. He was a conventional court painter of portraits for three Holy Roman Emperors in Vienna and Prague; also producing religious subjects and, among other things, a series of coloured drawings of exotic animals in the imperial menagerie. He specialized in gr... |
The still life portraits were clearly partly intended as curiosities to amuse the court, but critics have speculated as to how seriously they engaged with Renaissance Neo-Platonism or other intellectual currents of the day. |
Biography |
Giuseppe's father, Biagio Arcimboldo, was an artist of Milan, Italy. Like his father, Giuseppe Arcimboldo started his career as a designer for stained glass and frescoes at local cathedrals when he was 21 years old. |
In 1562, he became court portraitist to Ferdinand I at the Habsburg court in Vienna, Austria and later, to Maximilian II and his son Rudolf II at the court in Prague. He was also the court decorator and costume designer. Augustus, Elector of Saxony, who visited Vienna in 1570 and 1573, saw Arcimboldo's work and commiss... |
Arcimboldo's conventional work, on traditional religious subjects, has fallen into oblivion, but his portraits of human heads made up of vegetables, plants, fruits, sea creatures and tree roots, were greatly admired by his contemporaries and remain a source of fascination today. |
At a distance, his portraits look like normal human portraits. However, individual objects in each portrait actually overlap together to make various human anatomical shapes. They were carefully constructed by his imagination. The assembled objects in each portrait were not random: each was related by characterization... |
After a portrait was released to the public, some scholars, who had a close relationship with the book culture at that time, argued that the portrait ridiculed their scholarship. In fact, Arcimboldo criticized rich people's misbehavior and showed others what happened at that time through his art. In The Librarian, al... |
Art critics debate whether his paintings were whimsical or the product of a deranged mind. A majority of scholars hold to the view, however, that given the Renaissance fascination with riddles, puzzles, and the bizarre (see, for example, the grotesque heads of Leonardo da Vinci), Arcimboldo, far from being mentally imb... |
Arcimboldo died in Milan, Italy where he had retired after leaving the Prague service. It was during this last phase of his career that he produced the composite portrait of Rudolph II (see above), as well as his self-portrait as the Four Seasons. His Italian contemporaries honored him with poetry and manuscripts cel... |
When the Swedish army invaded Prague in 1648, during the Thirty Years' War, many of Arcimboldo's paintings were taken from Rudolf II's collection. |
His works can be found in Vienna's Kunsthistorisches Museum and the Habsburg Schloss Ambras in Innsbruck; the Louvre in Paris; as well as in numerous museums in Sweden. In Italy, his work is in Cremona, Brescia, and the Uffizi Gallery in Florence. The Wadsworth Atheneum in Hartford, Connecticut; the Denver Art Museum i... |
He is known as a 16th-century Mannerist. A transitional period from 1520 to 1590, Mannerism adopted some artistic elements from the High Renaissance and influenced other elements in the Baroque period. A Mannerist tended to show close relationships between human and nature. Arcimboldo also tried to show his appreciat... |
Legacy |
In 1976, the Spanish sculptor Miguel Berrocal created the original bronze sculpture interlocking in 20 elements titled Opus 144 ARCIMBOLDO BIG as a homage to the Italian painter. This work was followed by the limited-edition sculpture in 1000 copies titled Opus 167 OMAGGIO AD ARCIMBOLDO (HOMAGE TO ARCIMBOLDO) of 1976–1... |
The works of Arcimboldo, especially his multiple images and visual puns, were rediscovered in the early 20th century by Surrealist artists such as Salvador Dalí. The exhibition entitled "The Arcimboldo Effect: Transformations of the face from the 16th to the 20th Century” at the Palazzo Grassi in Venice (1987) includes... |
Arcimboldo's works are used by some psychologists and neuroscientists to determine the presence of lesions in the hemispheres of the brain that recognize global and local images and objects. |
Art heritage, estimates |
Heritage |
Giuseppe Arcimboldo did not leave written certificates on himself or his artwork. After the deaths of Arcimboldo and his patron—the emperor Rudolph II—the heritage of the artist was quickly forgotten, and many of his works were lost. They were not mentioned in the literature of the 17th and 18th centuries. Only in 1885... |
With the advent of surrealism its theorists paid attention to the formal work of Arcimboldo, and in the first half of the 20th century many articles were devoted to his heritage. Gustav René Hocke drew parallels between Arcimboldo, Salvador Dalí, and Max Ernst's works. A volume monograph of B. Geyger and the book by F.... |
Since 1978 T. DaCosta Kaufmann was engaged in Arcimboldo's heritage, and wrote of the artist defending his dissertation "Variations on an imperial subject". His volume work, published in 2009, summed up the attitude of modern art critics towards Arcimboldo. An article published in 1980 by Roland Barthes was devoted to ... |
Archimboldo's relation with surrealism was emphasized at landmark exhibitions in New York ("Fantastic art, dada, surrealism", 1937) and in Venice ("Arcimboldo's Effect: Evolution of the person in painting from the XVI century", Palazzo Grassi, 1987) where Arcimboldo's allegories were presented. The largest encyclopedic... |
Arcimboldo's art heritage is badly identified, especially as it concerns his early works and pictures in traditional style. In total about 20 of his pictures remain, but many more have been lost, according to mentions of his contemporaries and documents of the era. His cycles Four Elements and Seasons, which the artist... |
Art interpretations |
The main object of modern art critics' interpretation are the "curious" paintings of Arcimboldo whose works, according to V. Krigeskort, "are absolutely unique". Attempts of interpretation begin with judgments of the cultural background and philosophy of the artist, however a consensus in this respect is not developed.... |
Arcimboldo speaks double language, at the same time obvious and obfuscatory; he creates "mumbling" and "gibberish", but these inventions remain quite rational. Generally, the only whim (bizarrerie) which isn't afforded by Arcimboldo – he doesn't create language absolutely unclear … his art not madly.Arcimboldo's classi... |
In the work Arcimboldo and archimboldesk, F. Legrand and F. Xu tried to reconstruct the artist's philosophical views. They came to a conclusion that the views represented a kind of Platonic pantheism. The key to reconstruction of Arcimboldo's outlook seemed to them to be in the symbolism of court celebrations staged by... |
In literature and popular culture |
A number of writers from seventeenth-century Spain allude to his work, given that Philip II had acquired some of Arcimboldo's paintings. Grotesque images in the Miguel de Cervantes novel Don Quixote, such as an immense fake nose, recall his work. He also appears in the works of Francisco de Quevedo. Turning to contempo... |
Arcimboldo's painting Water was used as the cover of the 1975 album Masque by the progressive rock band Kansas, and was also shown on the cover of the 1977 Paladin edition of Thomas Szasz's The Myth of Mental Illness. |
The 1992 novelette The Coming of Vertumnus by Ian Watson counterpoints the innate surrealism of the eponymous work against a drug-induced altered mental state. |
In Harry Turtledove's 1993 fantasy detective novel, The Case of the Toxic Spell Dump, the alternate history's version of Arcimboldo incorporated imps – a common, everyday sight in that world – along with fruit, books, etc., into his portraits. |
The logo of the Arkangel Shakespeare audiobooks, released from 1998 onwards, is a portrait of William Shakespeare made out of books, in the style of Arcimboldo's Librarian. |
Arcimboldo-style fruit people appear as characters in the films The Tale of Despereaux (2008) and Alice Through the Looking Glass (2016), as well as in the Cosmic Osmo video game series. |
A detail from Flora was used on the cover of the 2009 album Bonfires on the Heath by The Clientele. |
Arcimboldo is referenced in the 2020 revival of the Animaniacs, Episode 4, as the main characters create a sculpture of him made of fruit. |
His painting Summer, from his set The Four Seasons, is featured in the Animal Crossing video game series as the "jolly painting". |
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