Voir Naples…
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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| פורמט: | Article ou chapitre numérique |
| שפה: | Français |
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2023
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| גישה מקוונת: | Accès Université d'Orléans et IFPM Accès Université d'Orléans et IFPM |
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cairn-RDA_220_0005 |
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cairn |
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cairn-RDA_220_0005RDARevue de l'art https://shs.cairn.info/revue-de-l-art-2023-2-page-5?lang=fr https://doi.org/10.3917/rda.220.0005 Voir Naples… Jobert, Barthélémy2023 fre Revue de l'art | 220 | 2 | 2023-07-20 | p. 5-7 | 0035-1326 RDA_22049 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 |
Jobert, Barthélémy |
| spellingShingle |
Jobert, Barthélémy Voir Naples… |
| author_facet |
Jobert, Barthélémy |
| author_sort |
Jobert, Barthélémy |
| title |
Voir Naples… |
| title_short |
Voir Naples… |
| title_full |
Voir Naples… |
| title_fullStr |
Voir Naples… |
| title_full_unstemmed |
Voir Naples… |
| title_sort |
voir naples… |
| publishDate |
2023 |
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| container_issue |
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| url |
https://ezproxy.univ-orleans.fr/login?url=https://shs.cairn.info/revue-de-l-art-2023-2-page-5?lang=fr https://ezproxy.univ-orleans.fr/login?url=https://doi.org/10.3917/rda.220.0005 |
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