Albrecht Dürer : célébration d’un voyage et innovations gravées
This little Egypt that was Rome, closer and better known than the Land of the Pharaohs, offered the most accessible repertory to the artists of the Renaissance, including those who, like Antoine Caron (1521-1599) had never visited the Eternal City. Nevertheless, this painter from Beauvais, who worke...
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| Format: | Article ou chapitre numérique |
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2023
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| Online dostop: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RDA_219_0070RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2023-1-page-70?lang=fr https://doi.org/10.3917/rda.219.0070 Albrecht Dürer : célébration d’un voyage et innovations gravées Grollemund, Hélène2023 fre Revue de l'art | 219 | 1 | 2023-07-17 | p. 70-75 | 0035-1326 RDA_21943 This little Egypt that was Rome, closer and better known than the Land of the Pharaohs, offered the most accessible repertory to the artists of the Renaissance, including those who, like Antoine Caron (1521-1599) had never visited the Eternal City. Nevertheless, this painter from Beauvais, who worked in the chateaux of Fontainebleau and of Anet, traveled, in the most original way among the French artists of the second half of the 16th century, to this Egyptian Rome. He accomplished his imaginary voyages by turning the pages of the treatises on architecture or about antiquity, by observing the engravings made by the Italians, the French and the Flemish, as well as the plates produced in the flourishing workshop that Antoine Lafréry opened in Rome. Based on these models, redeveloped, reinvented, and metamorphosized, Caron built a dreamlike Antiquity, a Neverland, made all the more attractive by being dystopian. This study proposes studying it.Cairn free access |
| language |
Français |
| format |
Article ou chapitre numérique |
| building |
0/Bibliothèque numérique/ 1/Bibliothèque numérique/Cairn/ |
| description |
This little Egypt that was Rome, closer and better known than the Land of the Pharaohs, offered the most accessible repertory to the artists of the Renaissance, including those who, like Antoine Caron (1521-1599) had never visited the Eternal City. Nevertheless, this painter from Beauvais, who worked in the chateaux of Fontainebleau and of Anet, traveled, in the most original way among the French artists of the second half of the 16th century, to this Egyptian Rome. He accomplished his imaginary voyages by turning the pages of the treatises on architecture or about antiquity, by observing the engravings made by the Italians, the French and the Flemish, as well as the plates produced in the flourishing workshop that Antoine Lafréry opened in Rome. Based on these models, redeveloped, reinvented, and metamorphosized, Caron built a dreamlike Antiquity, a Neverland, made all the more attractive by being dystopian. This study proposes studying it. |
| author |
Grollemund, Hélène |
| spellingShingle |
Grollemund, Hélène Albrecht Dürer : célébration d’un voyage et innovations gravées |
| author_facet |
Grollemund, Hélène |
| author_sort |
Grollemund, Hélène |
| title |
Albrecht Dürer : célébration d’un voyage et innovations gravées |
| title_short |
Albrecht Dürer : célébration d’un voyage et innovations gravées |
| title_full |
Albrecht Dürer : célébration d’un voyage et innovations gravées |
| title_fullStr |
Albrecht Dürer : célébration d’un voyage et innovations gravées |
| title_full_unstemmed |
Albrecht Dürer : célébration d’un voyage et innovations gravées |
| title_sort |
albrecht dürer : célébration d’un voyage et innovations gravées |
| publishDate |
2023 |
| container_title |
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| container_issue |
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https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2023-1-page-70?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.219.0070 |
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