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Pontormo shares some of the mannerism of Rosso Fiorentino and of Parmigianino. In some ways, he anticipated the Baroque as well as the tensions of El Greco. His eccentricities also resulted in an original sense of composition. At best, his compositions are cohesive. The figures in the Deposition, for example, appear to sustain each other: removal of any one of them would cause the edifice to collapse. In other works, as in the Joseph canvases, the crowding makes for a confusing pictorial melee. It is in the later drawings that we see a graceful fusion of bodies in a composition which includes the oval frame of Jesus in the Last Judgement. |
Anthology of works |
Early works (until 1521) |
Mature works (1522–30) |
Late works (after 1530) |
See also |
Lost artworks |
References |
Further reading |
Krystof, Doris. Joseph Carrucci, known as Pontormo 1494–1557. Köln: Konemann, 1988. ISBN 3-8290-0254-8 |
Keener, Chrystine. (2021). Pontormo's lost frescoes at San Lorenzo: political propaganda and dynastic symbolism /. |
External links |
Pontormo's paintings and drawings illustrated |
Pontormo at Olga's Gallery |
Giorgio Vasari's Vita (in English) |
A diary of his last two years survives |
Pontormo. Pictures and Biography |
"Jacopo Carucci da Pontormo, his life and works", by Frederik Mortimer Clapp, Oxford University Press, 1916 (at Internet Archive) |
Official website of the Church of San Michele Arcangelo, Carmignano, home of the Visitation |
Jacopo Torriti or Turriti was an Italian painter and mosaic maker who lived in the 13th century. |
He worked in the decoration especially in the apse of San Giovanni in Laterano and Santa Maria Maggiore in Rome. Those in the Lateran were carried out in conjunction with the Franciscan friar, Jacopo Camerino. They were executed between the years 1287 and 1292, and though in imitation of the style of Cimabue. |
There are no written documents about his life. In 1291 he signed the apse mosaics in the basilica San Giovanni in Laterano in Rome, which was nearly all redone in 1878. The mosaics of the apse in Santa Maria Maggiore were executed by him in 1295. They depict the Coronation of the Virgin by Christ in a large medallion. The medallion is encircled with a sprawling floral ornament with flowers, birds and animals, this probably original from the 4th century. In the lower strip of the mosaic we can see the standing figures of St Peter, St Paul and Pope Nicholas IV (left side), and St John the Baptist, St James the Great, St Antony and Giacomo Colonna (cardinal) (right side). The walls are decorated with scenes from the life of Mary. The apse of Santa Maria Maggiore is the most important surviving example of Roman mosaic art from the late Middle Ages. |
Torriti probably participated in the execution of some frescoes in the upper church of Basilica of San Francesco d'Assisi and frescoes in Abbey of Tre Fontane close to Rome. |
In France, a painting of Jacopo Torriti is exhibited at the Museum of Grenoble (Santa Lucia). |
References |
Italycyberguide |
Bryan, Michael (1889). Walter Armstrong; Robert Edmund Graves (eds.). Dictionary of Painters and Engravers, Biographical and Critical. Vol. II L-Z. London: George Bell and Sons. p. 581. |
Christ Child A mosaic by Jacopo Torriti in the Pushkin Art Museum, Moscow ("Christ Child") |
Petersen, Mark R., "Jacopo Torriti: Critical Study and Catalogue Raisonné" (Doctoral Dissertation, University of Virginia, 1989). |
Petersen, Mark R., "In Cor Descendit: The Motif of the Heavenly Jerusalem at San Giovanni in Laterano in Rome," Source: Notes in the History of Art (Vol. XI, No. 1, Fall 1991), pp. 1-5. |
Jacopo Zucchi (c. 1541– c. 1590) was a Florentine painter of the Mannerist style, active in Florence and Rome. |
His training began in the studio of Giorgio Vasari, and he participated in the decoration of the Studiolo and the Salone dei Cinquecento in the Palazzo Vecchio. Moving to Rome in the early 1570s, he worked for Cardinal Ferdinando de' Medici in his Palazzo Firenze (1574), for whom he also probably produced the oil on panel paintings The Golden Age and The Silver Age (both c.1576–1581, both now in the Uffizi). He also helped decorate, along with his brother Francesco, the apse and dome of Santo Spirito in Sassia with a fresco of the Pentecost. He painted the grand salon of the former Rucellai (now Ruspoli) palace in Rome with mythologic genealogies. Two canvases, representing the Ascension and Resurrection, are housed in the church of San Lorenzo Martire in San Lorenzo Nuovo (Italy). His brother Francesco Zucchi became a noted mosaicist and died in 1621. |
Sources |
Freedberg, Sydney J. (1993). Pelican History of Art (ed.). Painting in Italy, 1500-1600. Penguin Books Ltd. pp. 650–51. |
Jacques Daret (c. 1404 – c. 1470) was an Early Netherlandish painter born in Tournai (Doornik; now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. |
Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flémalle. This is argued by most scholars to be evidence that the Master of Flémalle was Daret's master, Robert Campin. |
Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flémalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flémalle and his other major pupil, Rogier van der Weyden. |
Arras Altarpiece |
Daret's four surviving securely identified works, all from the Arras Altarpiece, are the Visitation and Adoration of the Magi (both Gemäldegalerie, Berlin), the Nativity (Thyssen-Bornemisza Museum, Madrid), and the Presentation in the Temple (Petit Palais, Paris). |
External links |
Media related to Jacques Daret at Wikimedia Commons |
Learned Reading, Vernacular Seeing: Jacques Daret's Presentation in the Temple, Art Bulletin, The, Sept, 2000 by Penny Howell Jolly |
Jacques Daret at Artcyclopedia |
Works of Jacques Daret at the Art Renewal Center |
Web Gallery of Art: Biography of Jacques Daret |
Web Gallery of Art: Paintings by Jacques Daret |
Jacques Fouquier, Jacques Fouquières or Jacob Focquier (c. 1590/91 – 1655) was a Flemish landscape painter. After training in Antwerp he worked in various places where he often obtained appointments as a painter to the court including that of the French kings. He earned great success and a very high reputation during his lifetime and was even referred to as the 'Flemish Titian'. Very few of his paintings have been preserved. His work was influential in his time and was widely circulated thanks to reproductions by various contemporary engravers. |
Life |
Little is known with certainty about the life of Jacques Fouquier. He was traditionally believed to have been born in Antwerp at about 1580. Wolfgang Stechow was able to show in 1930 that his birth date should be placed around 1590. He came to this conclusion on the basis of an autograph inscription by Fouquier on a drawing dated 1604 kept in the Art Collection of the University of Göttingen (inv. no. H 465). The drawing contains in the lower right corner the inscription I.F. jaques foucquier me feciet aetatis suae 13 iaer 1604 5 ianvarer ('I.F Jacques Foucquier made me at the age of 13 in the year 1604 on 5 January. There is no documentary evidence to prove his place of birth. The 17th century German Baroque art-historian Joachim von Sandrart stated that Fouquier was the scion of a good family from western Flanders. A signature on an early drawing after Jan Brueghel the Elder indicates that he used the French name at an early age which possibly suggests that his ancestry was a French-speaking community. |
In 1614 he was registered as a master painter under the name Jacques Foucque in the registers of the Antwerp Guild of St. Luke. The record does not mention who was his master. Some art historians have proposed a traineeship first under Joos de Momper, a prominent landscape painter and later under Jan Brueghel the Elder, a prolific painter and regular collaborator of Rubens. While there is no documentary evidence for such apprenticeships, they are supported on stylistic grounds. Although some biographers believe he left Antwerp shortly after 1614, others claim he is still mentioned in Antwerp as late as 1616. He was possibly registered in the Brussels' Guild of Saint Luke in 1616 as a pupil of Arnould van Laken and became citizen of the city of Brussels in the same year. |
In the period between 1616 and 1619 he worked in Heidelberg at the court of the art loving Frederick V, the Elector Palatine. He was in charge of the decorative programme for the new 'Englischer Bau' (English building) of Heidelberg Castle, which was purpose-built for the Elector's English bride Elizabeth Stuart. He also painted a View of the Hortus Palatinus and Heidelberg Castle during this time (before 1620, (Kurpfälzisches Museum, Heidelberg). From 1619 to 1621 he was back in Brussels, where Philippe de Champaigne was one of his pupils. He possibly travelled around 1620 to Italy where he resided for a time in Rome. |
At the latest by 1621 he had established himself in Paris, where he became court painter to King Louis XIII. The monarch elevated him to the peerage in 1626. This mark of distinction is said by Dezallier d'Argenville to have rendered him so vain, that afterwards he always painted with his sword on his side. On 15 July 1626 the king commissioned him to make plans, paintings and views of landscapes for the Grande Galerie of the Louvre palace. To execute this commission, Fouquier travelled to Toulon in 1626, Aix-en-Provence in 1627, Toulon and Marseille in 1629 and Toulon and Aix-en-Provence in 1632 and Toulon in 1633. It seems he was a slow (or even lazy) painter as only in 1632 the citizens of Toulon were able to send the first of his two large paintings to the King. Legend has it that this commission was the cause of a public rift between Foucquier and Nicolas Poussin in the summer of 1641. It was provoked by the exacting attitude of Foucquier vis-à-vis Poussin in relation to the decoration of the Grande Galerie of the Louvre palace. Foucquier insisted his landscapes be the principal decorations. In a letter to Paul Fréart de Chantelou, Poussin made fun of "le baron Foucquier" and is said to have avenged himself after his escape from Paris associated with the dispute in an allegory in which Foucquier was represented by a donkey on which Jacques Lemercier sat enthroned as the queen of stupidity. |
Fouquier lived in 1644 together with Flemish artists Philippe Vleughels, Pieter van Mol, Willem Kalf, Nicasius Bernaerts and Peter van Boucle in Paris. He died at the end of 1655 in a room given to him by the painter Sylvain in the Fauxbourg Saint Jacques in Paris. The inventory of his estate was drawn up on 4 January 1656 at the behest of his creditors. His meager possessions are evidence that he had fallen on hard times at the end of his life. |
His pupils included Philippe de Champaigne, Matthieu van Plattenberg, and Etienne Rendu. |
Work |
Fouquier was a specialist painter and draughtsman of landscapes. While his paintings are now scarce, drawings from his entire career are preserved in various collections. The city views he made for the King of France are lost as well as a series of grand landscapes he made for the Tuileries. Unlike many of his contemporaries, he usually took charge himself of the painting of the staffage in his landscapes. This did not prevent a collaboration with Rubens on a Landscape with a satyr chasing a nymph formerly in the collection of Archduke Leopold Wilhelm of Austria in which Rubens painted the satyr and nymph and Fouquier the landscape. |
His early work showed the characteristics of the Northern style prevalent in the late 16th and early 17th centuries as represented by the works of Joos de Momper and Jan Brueghel the Elder, which was still dependent on the world landscape tradition started in the early 16th century. This tradition showed a preference for sweeping views with craggy rocks in the distance and a blue-greenish palette. The influence of this tradition is visible in his earliest known painting, the Winter landscape of 1617, now in the Fitzwilliam Museum. This work also shows the influence of Dutch painters such as Adriaen van de Venne and Hendrick Avercamp. The Landscape with hunters (signed and dated 31 July 1620, Musée d'Arts de Nantes) is from this same period and show de Momper's influence. The agitated figures in the landscape are painted by Fouquier himself and are typical of his work. |
In his 1622 Forest landscape (Wallraf–Richartz Museum) he broke with this tradition by abandoning the wide panoramic landscapes in favour of a narrow focus on the depiction of a dark tree and a group of trees. In this development he followed in the footsteps of Gillis van Coninxloo a generation before him. He does not follow van Coninxloo in the direction of-a more naturalistic display of leaves, but he maintains the abbreviated, schematic treatment of foliage to concentrate rather on the new compositional ideas: uniform space in the foreground and middle ground rather than the stratification of the foreground, middle ground and distant portions and the romantic rocks of the de Momper school, only occasional perspective into the distance, greater ability to draw the viewer into the image, and above all a harmonization of color with more emphasis on light and the direction of the light: The color scheme, especially in the background, points to later developments in the 17th century such as seen in the works of Gaspard Dughet and Jacques d'Arthois. The question has been raised as to whether the change in style is attributable to Fouquier's collaborations with Rubens. No clearly documented works from after the style change are known. There are, however, many authenticated drawings which indicate that at that time Fouquier was much influenced by the classicising trend of the Carracci's and Paul Bril, which was then being introduced into France through the works of Poussin, Claude Lorrain and Gaspard Dughet. |
Many of the works of Fouquier were engraved by contemporary artists including Alexander Voet the Younger, Matthieu van Plattenberg, Jan Baptist de Wael, Jean Morin, Gabriel Perelle, Jean-Jacques de Boissieu, Nicolas Cochin and Ignatius van der Stock. The prints provide a record of Fouquier's large-scale works that were produced after his move to France, most of the originals of which have been destroyed or not located. They show that throughout his French period Fouquier remained faithful to the style he adopted from 1622 onwards. |
References |
External links |
Media related to Jacques Fouquier at Wikimedia Commons |
Jacques-Laurent Agasse (April 24, 1767 – December 27, 1849) was an animal and landscape painter from Switzerland. |
Born at Geneva, Agasse studied in the public art school of that city. Before he turned twenty he went to Paris to study in veterinary school to make himself fully acquainted with the anatomy of horses and other animals. He seems to have subsequently returned to Switzerland. The Tübinger Morgenblatt (1808, p. 876) says that "Agasse, the celebrated animal painter, now in England, owed his fortune to an accident. About eight years ago, he being then in Switzerland, a rich Englishman (George Pitt, later Lord Rivers) asked him to paint his favourite dog (greyhound) which had died. The Englishman was so pleased with his work that he took the painter to England with him." |
Nagler says that he was one of the most celebrated animal painters at the end of the 18th and the beginning of the 19th century. In Johann Georg Meusel's Neue Miscellaneen (viii. 1052 et seq.), he compares Agasse and Wouwermans, wholly in favour of the former. In that partial article much is said of his extreme devotion to art, of his marvelous knowledge of anatomy, of his special fondness for the English racehorses, and his excellence in depicting them. He appears first in the Academy catalogues in 1801 as the exhibitor of the 'Portrait of a Horse', and continued to exhibit more or less until 1845 (contradicting Nagler's statement that he died "about" 1806). |
In the catalogues his name is given as J.L. Agasse or Agassé. The number of times Agassé changed his address confirms Redgrave's assertion that "he lived poor and died poor". The writer of the panegyric already quoted says, however, that he did not work for money, but that he was urged forward by the resistless force of natural genius. |
Gallery |
References |
"Jacques-Laurent Agasse". SIKART Lexicon on art in Switzerland. |
Nagler, Allgemeines Künstler-Lexicon, 1872, gives an account inter alia of his engraved works |
Füssli, Neue Zusätze zu dem allgemeinen Künstler-Lexicon |
Tübinger Morgenblatt, 1808, p. 876 |
Meusel, Neue Miscellaneen, viii. 1052 |
Fiorillo, Geschichte der Mahlerey, v. 841, speaks of Agasse and Charles Ansell as the most celebrated English animal painters |
Redgrave's Dictionary. |
External links |
Global Gallery Bio & works |
23 works by Jacques-Laurent Agasse at www.Jacques-Laurent-Agasse.org Archived 2022-12-09 at the Wayback Machine |
Jacques-Laurent Agasse Paintings Gallery Archived 2012-03-30 at the Wayback Machine (Public Domain Paintings - www.art.onilm.com) |
Jacques-Louis David (French: [ʒaklwi david]; 30 August 1748 – 29 December 1825) was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. In the 1780s, his cerebral brand of history painting marked a change in taste away from Rococo frivolity toward classical austerity, severity, and heightened feeling, which harmonized with the moral climate of the final years of the Ancien Régime. |
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