Jean Fue Biography

Fueke’s life can only be judged by fragmentary information that is sometimes difficult to interpret, and the chronology of his career is not in many ways to be documented and therefore unclear. However, we know that, despite the Italian experience, his work is mainly based on the tradition of French Gothic, and not on new idioms of the Florentine Renaissance. Contemporary of the great Provensal artist Engerran de Shanton Carton Ok.

The early period and the main paintings are reported that Fouquet was the son of a priest, and he allegedly accepted the Holy San; But this is not confirmed. It is known that in his youth he made a trip to Italy - between and years he wrote in Rome a portrait of Pope Eugene IV, which caused the admiration of the Italians. There is no certainty that, as previously expected, by the year he returned to the tour.

The will of the bishop of Jean Bernard stated that Fouke should receive an order to create an altar image of the Assumption for the Church of Kandes Indr-i-LEARA. In the year, Fouquet received payment for paintings for the recently created Order of St. Michael, and in the years - for two prayer books for Maria de Klev and Philipa de Commial. In the year, he presented Louis XI model of his future tomb, and in the year he received the title of royal painter.

In the year, he participated in the design of the entry of the King of Portugal Alfons V to the tour. It is mentioned as still alive in the year and as dead in the year. We know that he had two sons, Louis and Francois, who, like him, were artists.

It is not known where and how Fouke studied; Perhaps in the studio of the master of Bedford in Paris or in the bourgeon in the traditions of the brothers of the Limburgs; In any case, this happened in the atmosphere, which was still Gothic in spirit. He was the first artist who brought the art of the Renaissance to France. All attempts to identify his early work were unsuccessful.

He suddenly appears as a famous painter thanks to the portrait of Pope Eugene IV and his two relatives, written in Rome, is known for an engraving, which depicts one dad. The importance of this order, made by a foreign artist, suggests that Fouke already had an official appointment to the post of painter. These first two works show that Fouquet was aware of artistic events that took place in the Dutch Renaissance: he knew about modern Dutch portraits of authors such as Jan van Eik Ok.

But along with a lively and sensitive interpretation of the portrait, it was already present in the care of round volumes and monumental authorities, which was characteristic of him throughout his career and which, as they suggest, he acquired due to contact with the great French tradition of Gothic sculpture, in particular, statues. Upon returning from Italy, Fouke settled in a tour, where he was to work for the city, the court and royal officials.

Currently, the book is dismantled, 47 separate pages remained 40 of them in the Conde Museum in Chantili and two in the Louvre; Half of them are original at two levels, the lower of which serves as an anecdotic or decorative addition to the main story. The ideas of Italian Renaissance from Italy Fouke brought not only new ornamental motifs developed by artists of the early Renaissance, but primarily an unusual passion for France for a three -dimensional space and to play volume in this space.

He demonstrates a deep understanding of Florentine art of that time - Tommaso Mazaccho, Domenico Venetiano and Fra Angelico OK. These classes answered the taste of Fouquet: in Italy, he studied the linear perspective, which, however, did not apply from a scientific point of view. These intellectual discoveries did not contradict his love of reality: as a background for his paintings, he chose places in a tour or building in Paris, tried to accurately portray everyday life, an intimate atmosphere of interiors and air types of landscapes.

These qualities should have become even brighter as the memories of the Italian visit were erased. Altar images to the same period are the Melensky diptych of approx. The figure of the Virgin in the panel in the Konunkli Museum, as reported, is a portrait of Agnes Sorlel Mind. The Diptich Rama was decorated with medallions of gilded enamel: a portrait of the artist Louvre, the first famous self -portrait of a French artist and the first example in France of new Italian technology was probably one of them.

Pieta de Nuan Church Nuan, Indr-i Luar, a large altar image, possibly written with the help of his workshop, probably dates back to the same period; The date is not confirmed, but the smooth, sculptural aspect of volumes classifies Pieta in the same period as the diptych. The portrait of Guillaume Zhvenel de Ursin, the Chancellor of France Louvre, at the same time a thinly modeled portrait and, against the backdrop of a gilded coat of arms, a symbolic scarecrow of social success, was probably written about a year, given his less deliberately sculptural style, as well as the age and style of the model of the model.Book painting The rest of Fouquet works consist mainly of the medieval illumination of manuscripts, in which his workshop sometimes helped him.

Des cas des nobles homes et femments malheureuses Bokkaccio Munich Library, rewritten in the year and written for Loran Girar, the General Controller of Finance was made with the participation of his workshop, with the exception of a large front -line spectacle in the vandom in the year, which is one of the masterpieces Fouquet. According to the style of illustrations, this work is close to Bokkaccio, that is, about a year.

Small historical paintings, often consisting of two compared episodes, are distinguished by a less subtle atmosphere than paintings from the “life of Etienne Chevalier”, but they affirm a sense of history that portends the great works of the end of the foouke career. For about a year, Fouquet was written for Louis XI Frontix of the Statute of the Order of Saint-Michel National Library, Paris, a masterpiece of sophistication in the use of color, which serves as a deep sense of official greatness.

Read more about the book painting of Fouke SM: International Gothic Illumination. Fouquet miniatures attribute many miniatures and panels. Some of them, less high -quality or made in another spirit, are most likely the work of his workshop or unknown artists who studied with him, or, possibly, his sons of the National Library, Paris, and the Mazarin library; Library of Pierpont Morgan, New York; Sheffield art gallery; Hague library.

However, in addition to this direct influence, which manifests itself in the roundness of volume, gold strokes, the choice of decor, the location on a page in two rows or borrowings from his compositions, Fouquet did not have real students or followers: it was still too early for the Renaissance lesson, which he first brought to France was learned. His successors, Jean Bourdishon and Jean Colomb, which are far from understanding the wide rhythm of compositions, in which man and nature are balanced, took from his art only an image without content, and Fouquet remained the only classic artist of the 15th century to the north of the Alps.

Pictures and illuminated manuscripts of Jean Fouquet can be seen in some of the best art museums in the world. French art in the era of international Gothic approx. In addition to Jean Fouquet, outstanding representatives of this form of miniature painting were innovator Jean Puezel OK. Among the leading painters in France are the Flemish Melchior Bruderlam OK.

Religious art still remained a dominant genre-altar paintings for the Church of diptychi, triptihi, polyptychi and small home altar panels for home use. Among the popular subjects of such devout paintings were radical images of the passions and martyrdom of Jesus, saints and apostles. French sculptors were less busy with architectural sculpture than in the Romanesque and Gothic periods.

However, a small scale was in great demand. His contemporary was Klaus Slyuther OK. They were followed by a master of the 15th century Michel Colomb OK.