By Edward Lucie-Smith
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Extra info for A Concise History of French Painting
Pontormo was his exact contemporary. His early influences were threefold: Andrea del Sarto, whom he learned from but reacted against; Michelangelo; and the German engravers who also influenced Pontormo, notably Diirer. for for the latest 35 22, 23 Rosso's early works are religious paintings - moving, tight-strung, 1 523 he went to Rome, where he of 'grotesque' ornament, combining animal and vegetable forms and ancient Roman motifs, which Raphael and his workshop had evolved for the Vatican. Rome was sacked in 1 527 by Imperial troops, and Rosso fled.
The ( Lovers, off. 1618, shows how close he came to Caravaggio at one moment in his development. But Vouet soon sheered away towards a more eclectic style. On his return to France in 1627, he embarked on a successful career as a decorator, and a discussion of his later work belongs to a later chapter 45 (p. 92). important and even more eclectic artist: he was subject to Caravaggio's influence, but also to those of Adam Elsheimer, the Venetian painter Domenico Feti, and (from a completely different sphere) Rembrandt.
1550 ^^^^^ 29 MASTER OF FLORA Cupid c. 1540-60 Birth of 1 28 made a successful career for himself. An Eva Prima Pandora in the Louvre is traditionally attributed to him. His son and successor, Jean Cousin the Younger (1522—94), is known from engravings and from 32 another picture in the Louvre, A lairly large 'school of Fontainebleau' work of French by art historians, to be labelled and most of these seem to The most attractive are those generally work of the so-called Master of Flora, a specialist in erotic mythological scenes.
A Concise History of French Painting by Edward Lucie-Smith