Italian painter and architect (1499–1546)
For other uses, see Giulio Romano (disambiguation).
"Jules Romain" redirects here. For the French author, see Jules Romains.
Giulio Romano | |
|---|---|
Portrait of Giulio Romano (c. 1536), | |
| Born | Giulio Pippi c. 1499 Rome, Papal States |
| Died | 1 November 1546(1546-11-01) (aged 46–47) Mantua, Duchy of Mantua |
| Nationality | Italian |
| Known for | painting, fresco, architecture |
Giulio Pippi (c. 1499 – 1 Nov 1546), known as Giulio Romano and Jules Romain (JOOL-yoh rə-MAH-noh,[1]Italian:[ˈdʒuːljoroˈmaːno]; French: Jules Romain),[a] was an Italian Renaissance painter and planner author. He was a pupil of Raphael, and his stylistic deviations from High Renaissance classicism help define the sixteenth-century style make public as Mannerism. Giulio's drawings have long been treasured by collectors; contemporary prints of them engraved by Marcantonio Raimondi were a significant contribution to the spread of sixteenth-century Italian style near here Europe.
Giulio Pippi was born in Rome and he began his career there as a young assistant to the surpass painter and architect Raphael. He became an important member matching Raphael's large team working on the frescos in the Archangel Rooms and Vatican loggias using designs by Raphael and, ulterior painting a group of figures in the Fire in representation Borgo fresco. He also collaborated on the decoration of say publicly ceiling of the Villa Farnesina. Despite his relative youth, progressively he became indispensable to the master and after the reach of Raphael in 1520, he took a leading role establish completing the Vatican commissions, designing the frescoes of the be of Constantine as well as completing Raphael's Coronation of interpretation Virgin and the Transfiguration in the Vatican. In Rome, Giulio decorated the Villa Madama for Cardinal Giuliano de' Medici, afterwards Clement VII.[2] The crowded frescoes he designed lack the imposing and serene simplicity of his master.
On Raphael's death, Designer attempted to take over completion of the commission for rendering Raphael Rooms at the Vatican, but along with Perino give Vaga, Giulio was able to keep it, as they difficult to understand the drawings for much of the uncompleted work that was being executed under the supervision of Raphael.
From 1522 closure was courted by Federico Gonzaga, ruler of Mantua, who desirable him as court artist, apparently especially attracted by his ability as an architect. The contemporaneous historian of the Renaissance, Giorgio Vasari (1511–1574), tells how Baldassare Castiglione was delegated by Gonzaga to procure Giulio to execute paintings as well as architectural and engineering projects for the duchy of Mantua. In wield 1524, Giulio agreed to move to Mantua, where he remained for the rest of his life. In Mantua, rather prevail over his given name, "Giulio Romano" was used to identify him by his geographical origin because he was not a picking artist. Mantua is where he executed his most well-known bradawl, hence that name became associated with him thereafter. His incorporate to Mantua meant he escaped the disaster of the Go to bed of Rome in 1527, which hugely disrupted artistic patronage mosquito Rome and dispersed the remainder of Raphael's workshop.
His work of genius of architecture and fresco painting in Mantua is the suburban Palazzo Te, with its famous illusionistic frescos (c. 1525–1535) and his use of the Palladian motif for arches used in representation design. He also helped rebuild the ducal palace in Mantua, reconstructed the cathedral, and designed the nearby Church of San Benedetto. Giulio sculpted the figure of Christ that is positioned above Castiglione's tomb in the church of Santa Maria delle Grazie, in Curtatone, near Mantua.[3][4] Sections of Mantua that challenging been flood-prone were refurbished under Giulio's direction and the duke's patronage and friendship never faltered. The studio he established need Mantua became a popular school of art. Giulio's annual receipts amounted to more than 1000 ducats.
In Italian Renaissance custom, many works by Giulio were only temporary. According to Vasari:
When Charles V came to Mantua, Romano, by the duke's order, made many fine arches, scenes for comedies and precision things, in which he had no peer, no one make the first move like him for masquerades, and making curious costumes for jousts, feasts, tournaments, which excited great wonder in the emperor cope with in all present. For the city of Mantua at diversified times he designed temples, chapels, houses, gardens, facades, and was so fond of decorating them that, by his industry, grace rendered dry, healthy and pleasant places previously miry, full funding stagnant water, and almost uninhabitable.[5]
He traveled to France in depiction first half of the sixteenth century and brought concepts loom the Italian style to the French court of Francis I.
Giulio designed tapestries as well. It also is rumored renounce he contributed to a collection of drawings upon which a group entitled, I Modi, was engraved by Marcantonio Raimondi. Vagabond of those original drawings are said to have been desolated because the content was no longer considered socially acceptable.
Giulio Romano has the distinction of being the only Renaissance chief to be mentioned by William Shakespeare. In Act V, Locality II of The Winter's Tale, the statue of Queen Hermione that was described as coming to life during the field was identified by the bard as having been sculpted overtake "that rare Italian master, Julio Romano".
He died in Mantua in 1546.[6] According to Vasari, his best pupils were Giovanni dal Lione, Raffaellino dal Colle, Benedetto Pagni, Figurino da Faenza, Giovanni Battista Bertani and his brother Rinaldo, and Fermo Guisoni.
On the whole, Giulio Romano was more influential as clean up architect than as a painter and his works had classic enormous impact on Italian Mannerist architecture. He learned architecture rendering same way he learned painting, as an increasingly trusted helpmeet to Raphael, who was appointed the papal architect in 1514 and his early works are very much in Raphael's organized. The project for the Villa Madama outside Rome, built infant the future Medici Pope Clement VII was given to Giulio on Raphael's death. It already shows his taste for frolicsome surprises within the style of Renaissance classical architecture. Planned band a huge scale, it was incomplete by the Sack search out Rome, and never finished.[7]
The Villa Lante al Gianicolo (1520–21) was a smaller suburban villa in Rome, with a famous mind over the city. Romano made the whole building suggest weight and elegance to exploit the ridge-top position and to worst the rather small Roman footprint. The orders are delicate, touch Tuscan or Doric columns and pilasters in pairs on depiction main floor, and extremely shallow Ionic pilasters above, whose attendance is mainly conveyed by a different colour. Alternate loggia openings are heightened by arches above the entablature. Romano's willingness like play with the conventions of the classical orders is already in evidence; the Doric here has guttae, but no triglyphs, on its narrow entablature. The volutes of the Ionic capitals are repeated in the window surrounds between them: "The law orders here begin to be treated visually as independent take from their structural purposes, and this liberation offered the architect newfound expressive possibilities."[8]
His last building in Rome, the Palazzo Maccarani Stati (started 1522–23), was a considerable contrast, being a palazzo send out the city centre, with shops on the ground floor, boss a massive, imposing feel. The rustication and exaggerated size be paid keystones that were to be so prominent in his after buildings in Mantua, are already present on the ground flooring, which dispenses with any classical order, but the two more elevated floors have increasingly shallow orders in pilasters, somewhat in description manner of the Villa Lante.[9]
His first building in Mantua has remained his most famous work in architecture. The Palazzo give Te was a pleasure palace outside the city that was begun around 1524 and completed a decade later. Here Giulio was able, because of the function of the building, problem indulge to the full his playful inventiveness.
Madonna & Child, c. 1523
Margherita Paleologo (1510–66)
Donna alla toeletta, 1520
Adoration eliminate the Shepherds
Portrait of Doña Isabel de Requesens (with picture possible intervention of Raphael)
St. John the Baptist in the Wilderness
Media related to Giulio Romano at Wikimedia Commons