Giulio Romano

Giulio Wee of' Jannuzzi known as Giulio Romano (Rome, ~1499 - Mantoue, November 1st, 1546), (known also in French under the name of Jules Romain ) is a painter, Architecte and decorator Italy N of the rebirth, one of the first artists mannerists. He was the favorite pupil of Raphaël.

Biography

In Rome, whereas it is still in the workshop of Raphaël, it carries out most of the Fresque S of the loggias of the the Vatican (according to the drawings of Raphaël), in the stanze of the Vatican a group of figures in the fresco known as of the Incendie of Borgo , and the main part of the compositions of the room known as of Constantin. He also collaborates in the decoration of the ceiling of the Palais Farnèse. He inherits, with Francesco Penni, of the workshop of Raphaël with died of this one in 1520.

After the Bag of Rome of 1527 and the death of the pope Leon X, recommended by Baldassare Castiglione, Giulio joined the town of Mantoue, where it passes the remainder of his career and knows the patronage of the family Gonzague. The marquis Frederic II orders the to him Palais of Te, that Giulio realizes of 1526 to 1534 as well for painting as architecture. This princely residence quickly becomes a model of the genre for art mannerist, with the use, for the first time, of an architecture with ringed columns with embossings, as well as construction, apart from Rome, of a Nymphée in the garden. The exterior facades also exploit the use of an order known as rustic with its embossed effects and a play on the ruins by simulating the collapse of certain parts. Inside, Giulio and its workshop often paint with fresco the walls of reasons illusionists antiquisants, in particular a Banquet of Psyché and a urinating Putti full with humor, or monumental a Lutte of the giants and gods who puts in scene the mythological combat with vigorous effects of short cuts.

Giulio has to work for the king of France François I {{er}}, but it is finally one of his/her collaborators on the building site of the Palate of Te, Primatice, which answers this call and becomes one of the main characters of the school of Fontainebleau at the sides of Rosso.

The activity of Giulio Romano comprises also many drawings, of which an erotic continuation, engraved by Marcantonio Raimondi, known as I Modi (which one can translate by the Positions ). These prints were used as illustrations with the luxurieux Sonnets of Pierre Arétin, evoking, with a very believed language, the desire and the sexual practices.

Its art becomes more austere towards the end of its career, with tendency antiquisante marked like work of its own house, or more door like the frescos of the cathedral of Vérone.

He dies in Mantoue having created one of the most brilliant centers of the mannerism.

Works

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