Caryatid woman's head in stucco with white... - Lot 61 - Pierre Bergé & Associés

Lot 61
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Estimation :
3000 - 5000 EUR
Result with fees
Result : 3 900EUR
Caryatid woman's head in stucco with white... - Lot 61 - Pierre Bergé & Associés
Caryatid woman's head in stucco with white slip. Oval head with impassive expression; face with idealized features, almond-shaped eyes with tips falling slightly towards the temples, straight nose, mouth with loose lips and round, full chin. The young woman is adorned with jewels, earrings and a band of pearls on her forehead; her hair, particularly refined, is raised, with two large braids rolled up on each side and a voluminous bun covered by a headdress with a scalloped front covering the top of the forehead. Ile de France, first school of Fontainebleau, circa 1530/50 Height : 21,5 cm - Width : 18,5 cm - Depth : 23 cm Soclée (slight accidents and scratches) Works consulted : Actes du colloque international sur l'art de Fontainebleau, Paris, 1975, p 199 à 230 ; Exposition Fontainebleau 2013, Le Roi et l'Artiste - François 1er et Rosso Fiorentino, Château de Fontainebleau, cat. This stucco head is covered with a stone-coloured paint to give it the appearance of marble. This element and its style are reminiscent of antiquity as reinterpreted by the Renaissance. One thinks of the famous sculptures adorning the François I gallery and the room of the Duchess of Etampes (transformed into a staircase in the 18th century) in the Château de Fontainebleau. Francis I, in his idea of creating a "new Rome", according to Vasari's expression, brought two artists from Italy, Rosso Fiorentino and Francesco Primaticcio, known as Le Rosso and Le Primatice, to embellish his Bellifontaine residence. The aesthetic canons of the nymphs, allegories and divinities that form the rich stucco decorations surrounding the frescoes can be found in this head. These artists and their companions brought with them the techniques of the workshops of Outre-monts, in particular the practice of stucco which was less expensive than marble sculpture. It is a mixture of lime and plaster with the addition of sand and marble powder bound with glue. It is therefore highly probable that this beautiful head belonged to a decoration or set intended for the interior decoration of the Château de Fontainebleau. It is known that parts of the frescoes and stuccoes disappeared during the following centuries, even as early as the 16th century, due to alterations affecting the volumes and distribution of the rooms, in particular the King's Chamber on which Primaticcio worked, which was completely destroyed. This caryatid woman's head could have found its place in a Mannerist décor, as shown by what remains of the Duchess of Etampes' bedroom, created by Primaticcio (fig.a), or a drawing by Van Thulden preserved in Brussels, which bears witness to the décor of the King's Chamber (fig.b), but it could also have been integrated into an independent monument, like the figures of women supporting a perfume burner engraved by Marcantonio Raimondi (c. 1480 - c.1534) after Raphael (fig.c). Primaticcio was the pupil and later the assistant of Giulio Romano, one of the most talented heirs of the great Italian master.
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