By Edward Lucie-Smith

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French art moved from the world of the Late Gothic to that of Mannerism, with no intervening phase of High Renaissance classicism. Mannerism, which had only recently begun in Italy, confor the rest The 22 il artists rosso Pieta 1530-40 23 il rosso Venus Chiding Love quered France as it was soon to conquer the rest of Europe. It soon became an international style of a kind which had not been seen since the heyday of International Gothic. Mannerism and International Gothic had certain qualities in common, and these were what helped the new style to establish itself so swiftly.

1560 the characteristics of the Fontainebleau the compression of space, the feverish energy, the startling is the best preserved of all the works behind him in France, and gives the true measure of it was the Fontainebleau compositions which were inFrench artists assimilated them through the medium of prints, colours. This eloquent painting which Rosso his gift. But fluential. left and these prints were also much studied abroad. Rosso's principal collaborator, Francesco Primaticcio, had a more He came from Bologna, and worked with Giulio Romano in Mantua, when Giulio was engaged in decorating the Palazzo del Te.

Mannerism, which had only recently begun in Italy, confor the rest The 22 il artists rosso Pieta 1530-40 23 il rosso Venus Chiding Love quered France as it was soon to conquer the rest of Europe. It soon became an international style of a kind which had not been seen since the heyday of International Gothic. Mannerism and International Gothic had certain qualities in common, and these were what helped the new style to establish itself so swiftly. Both were luxurious, amusing. essentially 'Court' Both were designed sense of the fashionable, an appetite for the true of Mannerism and its styles: fantastic, wiltul, to appeal to people with a new.

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A Concise History of French Painting by Edward Lucie-Smith


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