Préhistoire au Centre Pompidou

Préhistoire au Centre Pompidou

Apart from the monumental decoration of the vault in the Trinity Chapel in the Chateau of Fontainebleau, the painted works by Martin Fréminet amount to a few religious paintings that can be counted on the fingers of a single hand. This study proposes the addition of a Virgin and Child with the Youn...

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Auteur principal: Valentin, Boris
Format: Article ou chapitre numérique
Langue:Français
Publié: 2021
Accès en ligne:Accès Université d'Orléans et IFPM
Accès Université d'Orléans et IFPM
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spelling cairn-RDA_211_0090RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2021-1-page-90?lang=fr https://doi.org/10.3917/rda.211.0090 Préhistoire au Centre Pompidou Valentin, Boris2021 fre Revue de l'art | 211 | 1 | 2021-02-23 | p. 90-95 | 0035-1326 RDA_21148 Apart from the monumental decoration of the vault in the Trinity Chapel in the Chateau of Fontainebleau, the painted works by Martin Fréminet amount to a few religious paintings that can be counted on the fingers of a single hand. This study proposes the addition of a Virgin and Child with the Young Saint John preserved since the beginning of the 17th century on a pillar in the Church of Notre Dame du Sablon in Brussels, which, at the start of the artist’s Parisian career, around 1605, could be an echo of the painting Fréminet made for Saint Louis des Français in Rome in the last decade of the 16th century, lost today, but celebrated in its own time by Giulio Mancini. This new hypothesis reveals an interesting kinship between Fréminet’s art and that of his contemporary from Antwerp Abraham Janssens, trained in Rome during the same years as Fréminet and to whom Joost vander Auwera preferred to attribute the painting.Cairn free access
language Français
format Article ou chapitre numérique
building 0/Bibliothèque numérique/
1/Bibliothèque numérique/Cairn/
description Apart from the monumental decoration of the vault in the Trinity Chapel in the Chateau of Fontainebleau, the painted works by Martin Fréminet amount to a few religious paintings that can be counted on the fingers of a single hand. This study proposes the addition of a Virgin and Child with the Young Saint John preserved since the beginning of the 17th century on a pillar in the Church of Notre Dame du Sablon in Brussels, which, at the start of the artist’s Parisian career, around 1605, could be an echo of the painting Fréminet made for Saint Louis des Français in Rome in the last decade of the 16th century, lost today, but celebrated in its own time by Giulio Mancini. This new hypothesis reveals an interesting kinship between Fréminet’s art and that of his contemporary from Antwerp Abraham Janssens, trained in Rome during the same years as Fréminet and to whom Joost vander Auwera preferred to attribute the painting.
author Valentin, Boris
spellingShingle Valentin, Boris
Préhistoire au Centre Pompidou
author_facet Valentin, Boris
author_sort Valentin, Boris
title Préhistoire au Centre Pompidou
title_short Préhistoire au Centre Pompidou
title_full Préhistoire au Centre Pompidou
title_fullStr Préhistoire au Centre Pompidou
title_full_unstemmed Préhistoire au Centre Pompidou
title_sort préhistoire au centre pompidou
publishDate 2021
container_title
container_issue
url https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2021-1-page-90?lang=fr
https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.211.0090
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