弗朗索瓦Clouet, François

弗朗索瓦（1510年—1572年12月22日），法国微雕艺术家和画家。

中文名弗朗索瓦
外文名Clouet
性别男
国籍法国
出生地法国
出生日期1510年
逝世日期1572年12月22日
职业微雕艺术家和画家

阿尔勒摄影节艺术总监弗朗索瓦·

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阿尔勒摄影节创立于1970年，是法国最富盛名的国际摄影展之一。今年，摄影节携手“中法文化之春”，和“三影堂摄影艺术中心”(位于北京草场地)进行合作展览。...

历史的引用

盟爵士贝恩(可能描绘玛丽女王scott)^[1]由弗朗索瓦•法国(1571)国家美术馆的艺术,华盛顿特区。.

法国出生在旅游.

最早的引用日期为1541年12月(见他是一个文档让法国),国王为弗朗索瓦的好处放弃他父亲的遗产,曾被没收到皇冠的房地产一个外国人。在本文档中,年轻的法国据说密切跟随他的父亲在他的艺术。就像他的父亲,他的办公室举行新郎的室和画家在普通王,所以工资而言,他开始在他父亲离开的。很多图纸都归因于这个艺术家,常常没有完美的确定性。然而,比有去在他父亲的情况。

画像的人,所谓“唐璜”弗朗索瓦•法国(1560年代)恰尔托雷斯基博物馆,克拉科夫.

唱了弗朗索瓦的称赞法国作家,他的名字叫精心保存从统治到统治时期,有一个古老的和完整的传统的归因,他的许多照片。然而,没有任何原始证明他的作品,也没有任何文件被贬低这将保证通常接受。是由于他的画像弗朗西斯我在乌菲兹和罗浮宫以及各种相关的图纸。他可能也画的肖像凯瑟琳德美第奇在凡尔赛宫和其他的作品,在所有概率大量图纸归因于他的他的手。他的一个最引人注目的肖像苏格兰的玛丽女王在粉笔画国立图书馆,相似的性格是两个的画像查理九世和一个尚蒂伊玛格丽特的法国。也许他的杰作的肖像奥地利的伊丽莎白在卢浮宫。这篇文章做了一个重要的印象克洛德·列维-斯特劳斯。特别是它帮助激发他的理论的模型reduit,或艺术品的微缩模型,和其他理论的艺术作品,在他的著作《野蛮。

亨利二世,在这里站在一个东方地毯弗朗索瓦•法国。

法国居住在巴黎街Ste Avoye寺庙季度靠近酒店de伪装,1568年是已知的庇护下克劳德Gouffierde Boisy诸侯d 'Oiron,和他的妻子克劳德·德Baune。关于弗朗索瓦•法国另一个确定的事实是,1571年,他被叫到办公室的法院薄荷、和他的意见是相似的国王画像被薄荷。他准备的死亡面具亨利二世,1547年,他已经采取了类似的面具弗朗西斯我的脸和手。,在葬礼上使用的雕像可能准备从他的图纸,并在每一个场合他处决了绘画中使用的装饰教堂和横幅的仪式。

几个微缩模型被认为是他的工作,一个常显著的肖像是亨利二世的半身像的集合j•皮尔庞特•摩根。他的另一个是肖像弗朗索瓦,duc d 'Alencon在琼斯的集合维多利亚和阿尔伯特博物馆.凯瑟琳德美第奇贾米特描述的努力迈斯特(他使用他的父亲的名字)驻伦敦大使阿朗松的像,费内龙Mothe。^[3]某些表示的皇室成员在Magniac汉密尔顿宫收集和出售通常归因于他。

他于1572年12月22日,死亡后不久圣巴塞洛缪大屠杀,他会提及他的姐姐和他的两个非法的女儿,和处理处置大量的财产,仍然是存在的。他的女儿们随后成为修女。

评估

精心制作完成的他的工作是了不起的所有细节,极端的准确性画画,整个肖像的精致的完整性。他一定是一个高智商的人,伟大的渗透,他的工作有着浓厚的兴趣,具有相当大的能力来代表他保姆的角色在他的画像。他的颜色可能不是特别显著,也从风格可以被认为是非常非常美丽的照片,但在完美的画,他几乎没有平等。

English Introduction

Historical references

Clouet was born in Tours.

The earliest reference to him is a document dated December 1541 (see Jean Clouet), in which the king renounces for the benefit of François his father's estate, which had escheated to the crown as the estate of a foreigner. In this document, the younger Clouet is said to have followed his father very closely in his art. Like his father, he held the office of groom of the chamber and painter in ordinary to the king, and so far as salary is concerned, he started where his father left off. Many drawings are attributed to this artist, often without perfect certainty. There is, however, more to go upon than there is in the case of his father.

As the praises of François Clouet were sung by the writers of the day, his name was carefully preserved from reign to reign, and there is an ancient and unbroken tradition in the attribution of many of his pictures. There are not, however, any original attestations of his works, nor are any documents known which would guarantee the ascriptions usually accepted. To him are attributed the portraits of Francis I at the Uffizi and at the Louvre, and various drawings relating to them. He probably also painted the portrait of Catherine de' Mediciat Versailles and other works, and in all probability a large number of the drawings ascribed to him were from his hand. One of his most remarkable portraits is that of Mary, Queen of Scots, a drawing in chalks in the Bibliothèque Nationale, and of similar character are the two portraits of Charles IX and the one at Chantilly of Marguerite of France. Perhaps his masterpiece is the portrait of Elizabeth of Austria in the Louvre.This piece made an important impression on Claude Lévi-Strauss. In particular it helped inspire his theory of the modèle réduit, or of works of art as 'miniature models', and other theories of artworks, in his book The Savage Mind.

Clouet resided in Paris in the rue de Ste Avoye in the Temple quarter, close to the Hotel de Guise, and in 1568 is known to have been under the patronage ofClaude Gouffier de Boisy, Seigneur d'Oiron, and his wife Claude de Baune. Another ascertained fact concerning François Clouet is that in 1571 he was summoned to the office of the Court of the Mint, and his opinion was taken on the likeness to the king of a portrait struck by the mint. He prepared the death-mask of Henry II, as in 1547 he had taken a similar mask of the face and hands of Francis I., in order that the effigy to be used at the funeral might be prepared from his drawings; and on each of these occasions he executed the painting to be used in the decorations of the church and the banners for the great ceremony.

Several miniatures are believed to be his work, one very remarkable portrait being the half-length figure of Henry II in the collection of J. Pierpont Morgan. Another of his portraits is that of François, duc d'Alençon in the Jones collection at the Victoria & Albert Museum. Catherine de Medici described the efforts of Maistre Jamet (he used his father's name) on Alençon's portrait to the ambassador in London, Mothe Fénélon.^[3]Certain representations of members of the royal family which were in the Hamilton Palace collection and the Magniac sale are usually ascribed to him.

He died on 22 December 1572, shortly after the massacre of St Bartholomew, and his will, mentioning his sister and his two illegitimate daughters, and dealing with the disposition of a considerable amount of property, is still in existence. His daughters subsequently became nuns.

Assessment

His work is remarkable for the elaborate finish of all the details, the extreme accuracy of the drawing, and the exquisite completeness of the whole portrait. He must have been a man of high intelligence, and of great penetration, intensely interested in his work, and with considerable ability to represent the character of his sitter in his portraits. His coloring is perhaps not specially remarkable, nor from the point of style can his pictures be considered very fairly beautiful, but in perfection of drawing he has hardly any equal.^[2]^{[better source needed]}