Chateau De Fontainebleau: Decorative Themes

Chateau De Fontainebleau: Decorative Themes Sixteenth Century Decoration at the Chateau de Fontainebleau The decoration at Fontainebleau, the royal hunting lodge of Francois I, was led by Rosso Fiorentino in 1530. In 1532 Rosso was joined by Francesco Primaticcio, who held the position of first importance at Fontainebleau after the death of Rosso in 1540[1]. In 1552 Niccolà ² dellAbbate arrived at Fontainebleau, and together with Primaticcio decorated the Gallery of Ulysses in the Palace. Much of the original work has been lost and what remains has needed to be heavily restored. This essay will look at the style characteristics of the decoration visible today focusing on the frescoes in the Gallery of Francois I and the bronze relief by Cellini. The latent themes in the decoration of the chateau are typically representative of the Mannerist style of art that took a hold across Europe during the 1500’s. As Bosquet phrases it, ‘Mannerism is not a simple phenomenon; it is idealism, but it is also naturalism; it is evasion, but it is also joy of life and hope in the future.’[2] The changing nature of the social and economic climate led to experimentation and absorption in the arts, and to pioneering styles which would be followed during later decades. In The Royal Elephant by Rosso (http://www.musee-chateau-fontainebleau.net.). the form of the elephant, which symbolises Wisdom and Loyalty[3] dominates the composition. Sixteenth century royalty primed themselves for being talented and learned; qualities which would ultimately lead to wisdom, strength and honour. Baldassare Castiglione, in his Cortegiano (1528)[4], cites the talents which a good courtier should possess. ‘The courtier was versed in all the sports (riding, fencing, wrestling, swimming); he had, in addition to strength and skill, acquired grace and elegance of movement by practicing dancing and gymnastics (..) should know not only the Latin language, but also Greek , that he should be well versed in the works of the poets and, furthermore, that he should be proficient in writing both prose and verse.’ It is quite probable that the composition of The Elephant is designed to reflect these qualities in King Francois I himself. The animal is placed centrally, with the surrounding figures looking beneath and behind it, thus drawing atte ntion to its sheer size and presence. The sculpted dragon, a symbol of strength and courage, takes central place above the scene of the fresco: in both the dragon and the elephant exceptional attention has been paid to the clarity of line in the gentle curves of their forms. These shapes are reflected in the curving stucco surrounds which are moulded to reach into the picture, thus drawing the eye into the scene. The elaborately decorative surrounds mark the beginning of a trend of such decoration (which would later be imitated in paint) which continued within the School of Fontainebleau. Stucco was an antique medium which was rediscovered in the sixteenth century and encouraged the invention of ‘exotic and peculiarly fluid conjunctions of forms.’[5] Here we see twisted scroll-like forms framing the picture. The scene depicts a number of figures, crowded in places, creating a slightly chaotic atmosphere; this is juxtaposed against the serenity of the great elephant whic h stands rider less. This could suggest that Rosso was intending to reflect not only the character of Fontainebleau’s inhabitants, but also the character of the chateau itself. In other words, the serenity amidst the chaos could here represent the rural oasis of the princely court set apart from the public chaos of the city. During the sixteenth century it was not uncommon to for artists to be both painters and sculptors. In fact, according to Hauser[6], French mannerism produced incomparably more works in sculpture than in painting. Francesco Primatticio first combined allegorical painting in moulded plasterwork at Fontainebleau a style that was to influence the later baroque and rococo decoration. In plate 198 (Hauser, 1965) a mural decoration originally by Primaticcio, the actual mural appears small in size to the surrounding decoration, the elaborate frame almost becoming more important than the picture itself. The stucco framing is treated as if it were leather or paper, slashed and rolled into the fine detail of fruit and the gently curving female figures. In plate 198 there is a suggestion of early eroticism; the partially revealed naked upper bodies of the women figures becomes a popular theme in expressive sixteenth century art. There too can be seen the mythological figure Pan with goats†™ horns, and in ‘Danae’, plate 199[7], the winged cherub signifies the highest ranking of the hierarchy of angels[8]. These images represent the extremes of experience sought after in an age of sensuality. Primaticcio expresses the lusty enjoyment of the era through the image of Pan who represents hedonism, and in contrast the spiritual refinement of the cherub suggests the richness of sixteenth century spiritual life where dreams and visions were of great inspiration to artists. Blunt[9] suggests that Primaticcios style, as it can be seen from his drawings for the Chambre du Roi and from the mantelpiece from the Chambre de la Reine was influenced by his time spent in Mantua,[10] where he executed classical friezes in the Sala degli Stucchi in the Palazzo del Tà ¨: The fruit swags on the mantelpiece recall those in the Palazzo del Tà ¨, and the sphinxes are cousins of those in the Sala di Fetonte. The general design is classical in its emphasis on circular and square panels, but the proportions of the figures are elongated like those in the stuccos on the vault of the Sala degli Stucchi. The whole effect, moreover, is richer than anything to be seen in Mantua, mainly because of the higher relief.[11] It appears that the artists who decorated the palace in France were expanding the ideas which they had been working on in Italy. As can be seen from the Galerie dUlysse some of the decoration was extremely complex and took many years to complete. The gallery was of immense length, and filled the whole side of the Cour du Cheval Blanc on the first floor. The walls were decorated with a series of paintings illustrating the story of Ulysses which, as Blunt suggests, show Primaticcio as a master of academic design ‘in a style more affected than previously by Michelangelesque influence, particularly in the scenes of violent action.’[12] The appearance of The Salle de Bal differs as the form of the building was more difficult to decorate. The zones and the spaces under the window embrasures were decorated by Primaticcio probably between 1552 and 1556. The condition of surviving paintings is poor, but from drawings made (Hauser, plate 43A) we can see that Primaticcio intended a symmetric design not unlike Raphaels decorations in the Farnesina.[13] This design works well in the limited space available and differs to Raphael’s work as it depicts whole scenes rather than two or three figure groups. Being employed by the royal courts had a significant effect on the artists’ style of the decoration at Fontainebleau. Paul III declared, when Benvenuto Cellini was brought before him accused of murder, that such a man was above the laws[14]. While being held in high esteem allowed the artists considerable independence in their work they had also to consider what their patrons expected and required of them. Cellini’s bronze relief ‘Nymph of Fontainebleau’ was originally designed for the Porte Doree[15] but it was never installed at Fontainebleau. The grand lunette (409205 cm) illustrates the legend of the chà ¢teau’s origins, and because of the importance of its intended position it had to be strikingly beautiful and symbolic. The nymph encircles the neck of a stag, an emblem of the King, and it is thought that the relief was inspired by an image by Rosso now only known through an engraving by Pierre Milan[16]. According to the local legend, a huntin g dog named Bleau found a nymph beside a fresh-water spring. The spring and, consequently, the chà ¢teau both took the name Fontainebleau. In Rosso‘s engraving the reclining nymph lies among the rushes, with her left arm around an urn. She is nude but her legs are bent slightly at the knees for modesty’s sake. Marsengil suggests that Cellini expands this imagery to describe, ‘not simply the narrative of the nymph’s discovery, but the very idea of the nymph as the personification of the royal hunting lodge. (..) she has three urns under her left arm from which flowing and curling representations of water pour. These, as well as the billowing drapery that frames her, identify the female figure as the presiding deity.’[17] Cellini’s figure stretches across the entire scene so that her nudity is not covered this represents the boldness and sanctity with which Cellini deliberately associated the King and his wife, and also reflects the dynamism w ith which he executed his works at Fontainebleau. As well as exploring new territory with figurative painting, the Fontainebleau artists such as Nicolo dell’Abbate also developed landscapes. As Arnold Hauser says of dell‘Abbate ‘as a landscape painter he enriched mannerism with a new and autonomous form.’[18] In plate 114 (Hauser, 1965) the painting depicts a pastoral scene, the smoothly curving forms of the figures reflecting the swell of the landscape behind them. Dell’Abbate appears to seek balance and unity as well as beauty in his landscapes. Work such as this contrasts greatly to some of Rosso’s frescoes where he mixes themes and types of character into one scene. For instance, The Revenge of Nauphlius and The Sacrifice[19] where the bishop retreats to the rear of the scene while mothers with children predominate the front; Rosso deliberately juxtaposes these figures as he does the elements represented by the jugs and the burning offering. As can be seen from the differing work of dell ’Abbate and Rosso, the Mannerist movement stretched to include a diverse range of subjects and styles. The exploitation of space in the landscape by dell’Abbate and the fresco by Rosso represent two totally opposite conceptions. In one, relatively shallow space is crammed with an incredible accumulation of figures, objects and details; in the other, a deep space is created and is left almost completely empty except for the figures threshing the hay. In both cases this draws the eye to the figures and their relationship to each other and their surroundings. As Bosquet says, Rather than the abolition of space, we are confronted in Mannerism with a more complete mastery over the use of space, a freeing of space through plays of perspective or the creation of atmospheric effects.[20] The use of colour might help explore how such effects were created in the Fontainebleau decorations. In Rosso’s ’Venus Frustree’ (http://www.musee-chateau-fontainebleau.net.). the entire composition is constructed and coloured to create a serene yet fluid ambience. The utilisation of colour seen in this painting is executed with subtle stridencies and dissonances between the pale female skin tone and the marble-like male figures in the background. The central figure combines together the colouring and figurative elements of the entire scene: she walks towards the right hand side of the painting while looking back behind her thus uniting the two sides. Furthermore, her skin tone is soft, and under painted with the aqua green of her surround, while still imbued with the marble-like qualities of a statue. This amalgamation of different effects is complimented by the use of stucco for the figures of a man and woman which frame the fresco. The interpretation given of this painting[21] is that Venus is trying to awake the deadened Love when Mars has left for the war. The scene expresses war coming to disturb the happy love life. The naked figures in stucco of th e young man and woman also suggest the admiration that Rosso held for Michaelangelo In conclusion, the sixteenth century works at Fontainebleau are diverse in their style and expression. Some of the themes are difficult to decipher as they were specifically created for a closed, aristocratic circle to whom they were perfectly understandable and greatly enjoyed for their erudition and allegorical expression. There are however consistent themes of myth and allegory combined with a dynamic use of space, form and colour. The decorations are clever in that they embrace new styles and bold subjects while fulfilling the standards of excellence and appropriateness expected by the rulers of the court, and it is of no surprise that such work became an important influence in later classical styles of art. Bibliography Blunt, A., 1953. Art and Architecture in France, 1500 to 1700. Melbourne: Penguin Bousquet, J., and Taylor, S., W., (transltr) 1964. The Painting and Style of the Late Renaissance. New York: Braziller Franklin, D., 1994. Rosso in Italy. London: Yale University Press Hauser, A., 1965. Mannerism: the crisis of the Renaissance and the origin of modern art. London: Routledge Hauser, A., 1965. Mannerism: the crisis of the Renaissance and the origin of modern art. (prints). London: Routledge Marsengil, K., Identity Politics in Renaissance France: Cellini’s Nymph of Fontainebleau,(http://www.fsu.edu/~arh/events/athanor/athxix/AthanorXIX_marsengill.pdf) Shearman, J., 1977. Mannerism: Style and Civilisation. Middlesex: Penguin. http://en.wikipedia.org/wiki/Cherubim. http://www.metmuseum.org http://www.musee-chateau-fontainebleau.net. Further Reading Champney, E.W., 1901, Romance of the Renaissance Chateaux. New York: Putnam Dutton, R., 1957, The Chateaux of France, London: Batsford Sterling, C., 1955. A Catalogue of French Paintings. Volume: 1. Cambridge: Harvard University Press. De Girolami Cheney, L., 1997, Readings in Italian Mannerism. New York: Peter Lang. Murray, L., 1977. The High Renaissance and Mannerism: the North and Spain, 1500-1600. London: Thames and Hudson Smart, A., 1972, The Renaissance and Mannerism outside Italy. London: Thames and Hudson. 1 Footnotes [1] Bosquet, J., and Taylor, S., W., (transltr) 1964. The Painting and Style of the Late Renaissance. New York: Braziller, p.64. Hereafter cited as ‘Bosquet.’ [2] Bosquet, p.60. [3] http://www.chateaudefontainebleau.net [4] Bosquet, p.62. [5] Shearman, J., 1977. Mannerism: Style and Civilisation. Middlesex: Penguin, p.121. [6] Hauser, A., 1965. Mannerism: the crisis of the Renaissance and the origin of modern art.  London: Routledge, p.242. [7] Hauser, A., 1965. Mannerism: the crisis of the Renaissance and the origin of modern art.  London: Routledge, plate 199. [8] (http://en.wikipedia.org/wiki/Cherubim). [9] Blunt, A., 1953. Art and Architecture in France, 1500 to 1700. Melbourne: Penguin, p.35. Hereafter cited as ‘Blunt’. [10] ‘Blunt’, p.35. [11] ‘Blunt’, p.36. [12] ‘Blunt’, p.36. [13] ‘Blunt’, p.65. See plate 43A [14] ‘Bosquet’, p.72. [15] Marsengil, K., Identity Politics in Renaissance France: Cellini’s Nymph of Fontainebleau, (http://www.fsu.edu/~arh/events/athanor/athxix/AthanorXIX_marsengill.pdf) [16] Ibid, p.2. [17] Ibid, p.2. [18] Hauser, A., 1965. Mannerism: the crisis of the Renaissance and the origin of modern art.  London: Routledge, p.214. [19] Franklin, D., 1994. Rosso in Italy. London: Yale University Press, p.199. [20] ‘Bosquet’, p.143. [21] www.musee-chateau-fontainebleau.net.

Research Paper On Gun Control

There is a old saying that guns dont kill people, people kill people. This Is a known saying that comes out all the time when this conversation pops up. The media portrays gun control in a positive light, they believe that this is something that would work: believe that gun control will never work and giving people guns to protect themselves and taking guns from people the public judges or deems unfit is a terrible Idea.It Is unsafe, and also endangering people's lives and Is unfair, plus It Is oing against the second amendment which many have died to protect. The Article (â€Å"We Need More Gun control, whether You Know It or Not†) Is an pro-gun article that explains how most americans think you need a background check and go through all these test to be able to buy a gun, â€Å"but such laws don't exist†. First thing that concerns me with this article Is the how he acquired the stats and comments he obtained.Most of them are only from a small group consensus and was n ot open up to the public to thus meaning that it is only one sided and not taking an opinion from thers sides ot this topic. The second bit ot information that was about this article was that he has no ethos and have no real credited sources of his information. An picture I found on the web from (â€Å"accessories. com†) was an perfect example for gun rights. This pictures describes that George Bush is saying â€Å"Free People Ought To Be Armed†.This picture basically saying that George Bush a person that fought for the rights of people Is saying that they should be dble to keep their guns. I Agree with statement the government now is trying to take away guns from people and give uns to untrained people who would hurt themselves and kill someone on accident â€Å"Ilke a kid with a gun†. On the website (â€Å"Twitter. com†) there is an anti-gun control picture. This picture is saying that a man named Joe Salazar Is being claimed an Idlot because he states that college women should not have guns because women fearing rape may â€Å"pop a round at someone†.I agree with this statement. Having untrained women and some men carrying weapons will endanger people around them, the said so person, and his/her self. This is a terrible compromise to having people protected and putting in pro gun ontrol laws which end up benefiting no one In the end of It all. â€Å"l guess Dy nature, I'm a oestructlve one Ana trutn De told, tne saTety was never on. So warning bells should have rung when I was trained wrong. For you knew I was the trigger happy and sought.I'm thinking ‘goodbye' would have been for the best Instead. But now I found you dead, with my bullets in your chest. † A tragedy like this could be avoided if people where to realize that gun control is a terrible idea for the peoples safety and needs to be thinked over. Yes, there will be death cause by insane eople Just unloading rounds into people but thats not a guns fau lt is it the persons who is pulling the trigger that needs to be blamed.

Things You Should Know About Essay Examples

Things You Should Know About Essay Examples Essay Examples Fundamentals Explained Put down notes using your own words so you fully grasp the principal idea. Right, occasionally it is crucial to read the exact same information several times to get to the most important point. Check whether all key points are related to your topic. It is very important to bear in mind that having an example that's irrelevant and digresses from the most important point you're attempting to make, won't help your essay but harm it! Whatever They Told You About Essay Examples Is Dead Wrong...And Here's Why Accumulation of excessive body fat is referred to as obesity. There are references to our everyday calcium intake and a lot of facts about what our children ought to be eating. Moreover, without better health living a lively life is not merely difficult but in some situations it's unfeasible. The person doesn't show catatonic symptoms. What to Expect From Essay Examples? Who knew essay writ ing might be so tough. If you discover that the writer did not provide just what you expected, request a revision, and we'll make the corrections. My very last database from both issues in our writer is going to be written. The author gives two principal reasons. Your thesis does not need to be too general or long. Whenever your deadline is tight, you will likely write us nervously write my essay and think we'll realize what you need from 1 sentence. Essay Examples Secrets Moreover, it has reinforced the lengthy family by harnessing email and social media sites as a method to remain in direct contact. There are many businesses enjoying the fruitful outcomes of corporate identities including building construction businesses. Anyway, our company possesses many different services. You might not discover a single building development company that doesn't have a brand identity connected with it. There are many other reasons against the usage of free company identity maker softwares which we'll discuss sometimes later. The absolute best idea is to select informative article problems that truly matter for you personally. Producing an article was not straightforward nor could it ever be, and in the event you take it just enjoy an extremely straightforward undertaking, there is not a certainty you will get the specific grade which you just need to get. If you don't have a particular topic, you can grab a notion from the on-line samples. The sort of essay you're looking for will be offered to you within the deadline provided to you. So should you need to employ college essay writer online, we're just the people that you will need to contact. Our talented writers can deal with nearly every form of writing assignment, along with Math and Physics difficulties and a whole lot more. While it's the case that there are a few excellent writers in college some find it extremely tricky to write. Your college essay gives you a chance to demonstrate a more. Writing is a present that comes naturally. Academic papers cannot contain any signals of plagiarism. Actually, HR professionals sometimes discover that it's troublesome to quantify achievements. Regardless of what genre you would like Business Studies, Microeconomics, Business Management and Financial Accounting, we're here to serve your needs. Less Time One of the most important advantages of That qualifications examination is it does not overeat of time. All our writers pass a considerable procedure to look at their abilities. The more you tell us about your requirements, the better essay help we'll be in a position to provide. Use the aid of true academic experts and receive the service you have earned! Tell our experts what sort of homework help on the internet you will need to get.

Reasons Not to Call Someone Racist

It may not always be a good idea to call someone a racist, since many people, including bigots themselves, dont have a clear grasp of what racism is. Instead, they think racism is something in which only extremists take part. This means that even if a person does something that screams textbook â€Å"racist† to you, the individual in question will very likely disagree, making your decision to identify him as such backfire. Fortunately, other strategies to deal with racism exist than dropping the R-word. Labeling another person racist sometimes simply doesn’t work. Labeling Others Begets Defensiveness If you’ve ever called someone racist -- be it a friend, family member or coworker -- recall the person’s reaction. Did your acquaintance accept the label without question or challenge this description? More than likely, the person tried to defend his or herself and explain away any suggestion that she’s racist. When people become defensive, it’s difficult to get them to understand why their behavior offended others. So, rather than calling someone a name that will probably produce a knee-jerk reaction in him, focus on his behavior and how it upset you. Explain that your feelings were hurt when the person made a sweeping generalization about Latinos and how similar statements have led others to mistreat the racial group. Some Who Are Called Racist Issue Meaningless Apologies When public figures say or do something that society deems racist, they often apologize shortly after the gaffe lands them in the headlines, but this has proven problematic. One never knows if these figures apologize because they understand why their behavior hurt others or due to pressure from civil rights groups and the embarrassment of misstepping racially in public. The same thing can happen between two ordinary people. Say an employee accuses a co-worker of being racist. The co-worker apologizes out of fear of being reported to supervisors, a lawsuit being filed or being judged by fellow staffers, not because she truly feels remorse for causing hurt. Others who apologize for racist behavior may do so with no real agenda. These individuals may apologize because they dislike confrontation and are truly mortified about having said or done something considered racist. They say â€Å"sorry† to silence the other party and quickly get the awkward episode behind them. In each case, those labeled â€Å"racist† give empty apologies, ultimately learning little about racism and the hurt it causes. Racism Has Different Meanings for Different People Your definition of racism may not be the same as another’s  so calling someone else racist may not yield the results you’re after. If the person you believe is racist only considers people in white supremacist groups worthy of the label, it’s unlikely that the two of you will see eye-to-eye. Given this, rather than concentrate on the term â€Å"racist,† instead concentrate on why the person’s words or actions hurt you. Explain why you take issue with the person who clutched her purse when a black youth passed by or who talked down to a Latino serviceman. It’s definitely not your job to get others to â€Å"see the light† about racism, but if you’ve taken the risk of calling someone â€Å"racist,† it’s likely important to you that the individual in question understands why you object to her behavior. Therefore, explain to her that you don’t like when people make assumptions about others based on race. That’s why you spoke out when she clutched her purse upon crossing paths with a black youth. To you, that signals racial prejudice and you hope that she can refrain from such hurtful behavior in the future. Racism Is a General Word Sometimes â€Å"racism† isn’t the best word to describe someone’s behavior because it isn’t specific enough. Rather than using a word such as â€Å"racist,† perhaps you want to point out to a friend that his behavior stereotyped Asian women or that the comment he made about undocumented immigrants was xenophobic. The more specific you are when criticizing people for being racially insensitive, the better chance you have of getting them to see what made their behavior offensive. The Term Is Overused in Certain Circles In some settings, such as colleges and universities, words such as â€Å"racism† are thrown around all the time. The result is that racism and other â€Å"isms† begin to lose their currency. It may not be particularly disturbing for someone who hears references to various â€Å"isms† daily to suddenly find himself on the receiving end of such a term. The individual may easily shrug the label off, noting that  at his college classmates call people racist all the time. It’s then easy for him to reason that you are overreacting by using the term in reference to him. In such situations, you’re far better off focusing on the guy’s behavior than on labeling it. Ask him questions, such as how he knows it’s true that all people of a certain group engage in a particular activity. Challenge him when he professes to know that one racial group is better than another in certain fields. Wrapping Up By focusing on words and actions instead of on labels, you may be able to get individuals who show racial insensitivity to rethink their behavior. By calling them racist, however, you’re much more likely to get an empty apology and defensive rationalizations, all while the person who offended you remains as clueless about racism as ever.