Samuel Gras et Anne-Marie Legaré (dir.), Lumières du Nord. Les manuscrits français et flamands de la Bibliothèque nationale d’Espagne, Villeneuve d’Ascq, Presses universitaires du Septentrion, 2021, 392 p., nbr. ill. coul. et n. et bl.
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...
Đã lưu trong:
| Tác giả chính: | |
|---|---|
| Định dạng: | Article ou chapitre numérique |
| Ngôn ngữ: | Français |
| Được phát hành: |
2023
|
| Truy cập trực tuyến: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
| Tóm tắt: | 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. |
|---|