CHAPTER 11 THE RENAISSANCE WAY XVI ° S: ARTISTS
Jacques rouveyrol I. PRECURSOR AND INITIATOR
1. Michelangelo
It provides:
- the color contrast (Sistine Chapel)
serpentine-shape ( Victory, Palazzo Vecchio) 
-shortcut bold ( The Martyrdom of Aman )
- return to the surface ( The Virgin and Staircase ) 
The "fireworks" Architectural Library (San Lorenzo, Florence See previous course).
2. Raphael
It essentially brings with The Fire in the Borgo, the questioning of historia in which Alberti placed most of the table. The miracle performed by Pope to figure everything done in the background the table.
II. FIRST PERIOD (anticlassical).
This first period is characterized by the invention . The artist moves away from nature and invente.Du same time, the work stands out from the historia, is freed from many constraints. In sculpture, for example, the statue was still "insane" to the context in which it was to be produced (for a tomb, a chapel, etc.).. So here we are witnessing the birth of art in the sense we understand it today: works self worth by themselves.
1. Pontormo (1494-1556)
a. The movement, color.
-The Deposition Florence is like a ballet in which the body does not weigh anything and contained a round as the eye is led to go. No cross, no scale, no soil.
-The colors are acid, improbable as those used by Michelangelo in the Sistine Chapel.
b. The enigmatic
c. The fragmentation of time It seems, in the Joseph in Egypt, below, income processing "local" of the Middle Ages: various times of the same story found place in the same space table. but the meaning is quite different. We know that Jacob, blind, suffers an involuntary substitution. The two son of Joseph, Manasseh and Hepraïm he does not bless the child that he believes bless (the elder), but the other (the younger, Ephraim) and when Joseph exclaims, Jacob still giving Ephraim supremacy destiny on Manasseh. Is to make visible the conditions of this "mistake" that the image "multiplies" the children. But multiply without distinction: four times the same child that the picture portrays.
2. Rosso Fiorentino (1494-1540)
is Rosso which, with Primaticcio bring in Fontainebleau Italian Mannerism.
3. Beccafumi Domenico (1486-1551)
4. Parmigianino (1503-1540)
5. Benvenuto Cellini (1500-1571)
6. Bronzino (1502-1572)
The composition of this work deserves attention for a moment. Title: Allegory Triumph of Venus does not withstand analysis. Below, a Tapestry of Giovanni Rost from Bronzino: The Innocence justified. this tapestry was given as for another entitled Spring . Completely incongruous assignment: what relationship between Innocence and justified Spring ?
Bronzino In the table, the young woman is not Venus. Behind her, left, Jealousy held his head with both hands. The little ring that encircles the ankle boy's right, the means as Pleasure is futile illusory and false. Masks placed at the foot of the young woman return to mask located at the shoulder of the boy who appears The Deception . Perverse duplicity of a left hand located at the end of a right arm holding a honeycomb and a right hand after a left arm a venomous animal. At the top, tearing the veil from his hand, an old figure Time (the representation is classic). The figure on the left, top, and can only be unveiled Truth (also classic: Time unveiling Truth). But what truth? Precisely what constitutes the alleged Venus Lust which is denounced.
Thus the table title should be: Truth unveiled by Time and this table should be used (or have served) as a model for the tapestry that should have a counterpart to The Innocence justified.
III. SECOND PERIOD SO
If the first period put the invention of the artist above the imitation of nature, the second period is going to en avant l’élection. L’art doit rivaliser avec la nature. Pas seulement l’imiter, faire mieux qu’elle. Prendre en elle le meilleur et rejeter le moins bon.
1. Vasari (1511-1574)
2. Annibale Carrache (1560-1609)
3. Francesco Salviati (1510-1663)
4. Daniele da Volterra (1509-1566)
5. Jacopino del Conte (1510-1598)
IV. L’ECOLE DE FONTAINEBLEAU : LA MANIERE FRANCAISE
Après le sac de Rome en 1527, les artistes essaiment dans toute l’Europe. Le maniérisme s’internationalise comme l’avait fait aux XIV° et XV° siècles le gothique. La France qui entend mener une politique de prestige s’attache les meilleurs peintres italiens : Rosso, Primatice.
1. Première Ecole de Fontainebleau (1530-1560)
French artists, therefore, inspired by the Italian Mannerist give birth to a French. This is the starting point for a period of French rule in art (even if long artists will make the trip from Rome) that will last until the Second World War.
Some remained anonymous, as the painter of this famous huntress Diana.
Others have left their names, like Jean Goujon. 
2. Second School of Fontainebleau (1560 - 1620)
........................................ ............... Entourage Toussaint Dubreuil and Pomona Vertumnus Fontainebleau 
............................. .................................................. ..... Lady at her Toilet Museum in Dijon known artists of this period are: Jean Cousin, the father (1490-1560) author of the famous Eva Prima Pandora Louvre; Toussaint Dubreuil (1561 -1602); Fréminet Martin (1567-1619) and Ambroise Dubois (1543-1615).
V. APPENDIX: ARCIMBOLDO
portraits composed from elements borrowed from the productions of nature are probably related to considerable success "cabinets of curiosity" that develop in the sixteenth century.The Portrait of Rudolph II in Vertumnus in any case, is no caricature, but is an allegory (likeness) for the glorification of the ruler and his reign. Allegories frequent XVI Nos. (Francis 1st in the composite deity, for example).
This glorification of the ruler, it will be the primary object of the XVII ° s current baroque. 
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