Francesco Primaticcio

Francesco Primaticcio (April 30, 1504 – 1570) was an Italian Mannerist painter, architect and sculptor who spent most of his career in France.

"Primaticcio" redirects here. For the Italian wine grape also known as Primaticcio, see Sangiovese.
For another Italian wine grape that is also known as Primaticcio, see Montepulciano (grape).
1648 woodcut portrait of Francesco Primaticcio
Odysseus and Penelope, 1563

Biography

Born in Bologna, he trained under Giulio Romano in Mantua and became a pupil of Innocenzo da Imola, executing decorations at the Palazzo Te before securing a position in the court of Francis I of France in 1532.

Holy Family with St Elizabeth and John the Baptist, now in the Hermitage Museum, St Petersburg, Russia.

Together with Rosso Fiorentino he was one of the leading artists to work at the Chateau Fontainebleau (where he is grouped with the so-called "First School of Fontainebleau") spending much of his life there. Following Rosso's death in 1540, Primaticcio took control of the artistic direction at Fontainebleau, furnishing the painters and stuccators of his team, such as Nicolò dell'Abate, with designs. He made cartoons for tapestry-weavers and, like all 16th-century court artists, was called upon to design elaborate ephemeral decorations for masques and fêtes, which survive only in preparatory drawings and, sometimes, engravings. Francis I trusted his eye and sent him back to Italy on buying trips in 1540 and again in 1545.

In Rome, part of Primaticcio's commission was to take casts of the best Roman sculptures in the papal collections, some of which were cast in bronze to decorate the parterres at Fontainebleau.[1]

Primaticcio retained his position as court painter to Francis' heirs, Henry II and Francis II. His masterpiece, the Salle d'Hercule at Fontainebleau, occupied him and his team from the 1530s to 1559.

Primaticcio's crowded Mannerist compositions and his long-legged canon of beauty influenced French art for the rest of the century.

Primaticcio turned to architecture towards the end of his life, his greatest work being the Valois Chapel at the Abbey of Saint-Denis, although this was not completed until after his death and was destroyed in 1719.

  • Apollo, Pan, and a putto blowing a horn, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738-39)at Fontainebleau.
  • Three Muses and a Gesturing Putto, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738-39) at Fontainebleau
  • Three Muses and a Putto with a Lyre, a cruciform composition, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Gallery of Ulysses (destroyed 1738-39) at Fontainebleau
  • Three Muses and a Putto with Cymbals, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738-39) at Fontainebleau
  • Hercules, Bacchus, Pan, and Saturn(?), from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738-39) at Fontainebleau
  • Ceres Seated on Clouds with Two Goddesses and Two Putti, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738-39) at Fontainebleau
  • Pluto, Neptune, Minerva and Apollo, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738-39) at Fontainebleau
  • Venus and Cupid, Two Other Goddesses, and a Putto, from a series of eight compositions after Francesco Primaticcio's designs for the ceiling of the Ulysses Gallery (destroyed 1738-39) at Fontainebleau
  • Ulysses and His Companions Fighting the Cicones Before the City of Ismaros, Study for a Destroyed Fresco in the Galerie d'Ulysee, Chateau de Fontainebleau

Notes
  1. The project, which brought a first virtual confrontation with Roman sculpture to French patrons and artists, is surveyed in detail by S. Pressouyre, "Les fontes de Primatice à Fontainebleau", Bulletin monumental 127 (1969), pp. 223-38. See also Thomas Clouet, "Fontainebleau de 1541 à 1547. Pour une relecture des Comptes des Bâtiments du roi", Bulletin monumental 170 (2012), pp. 195-234, in which article a precise chronology of the casting of these famous bronzes is established (english summary). The precious moulds, at the instigation of Leone Leoni were sent to the Habsburg court in the Spanish Netherland in 1550 and, after serving to make a set of stucco casts for Charles V's daughter Mary of Hungary, Queen-governess of the Netherlands at Binche (where they were destroyed by Henry II's troops in 1554) they were probably forwarded to Leoni in Milan (Bruce Boucher, "Leone Leoni and Primaticcio's Moulds of Antique Sculpture", The Burlington Magazine 123 No. 934 (January 1981), pp. 23-26).
gollark: I mean, I might look, but as I said, it's not really a topic I care much about.
gollark: I don't have anything *against* guns, and in fact I'd probably prefer looser restrictions than the UK has for FREEDOM™ reasons, but it just... never came up and I never cared much about their existence.
gollark: * maybe I saw one, I mean.
gollark: I mean, maybe in museums, I just didn't really pay attention.
gollark: Hunting rifle no, and I may not actually have ever seen one in person, bow and arrow yes, I said so.

References

The Oxford Dictionary of Art, ISBN 0-19-280022-1

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