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453:, and making curious costumes for jousts, feasts, tournaments, which excited great wonder in the emperor and in all present. For the city of Mantua at various times he designed temples, chapels, houses, gardens, facades, and was so fond of decorating them that, by his industry, he rendered dry, healthy and pleasant places previously miry, full of stagnant water, and almost uninhabitable.
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407:, where he remained for the rest of his life. In Mantua, rather than his given name, "Giulio Romano" was used to identify him by his geographical origin because he was not a native artist. Mantua is where he executed his most well-known work, hence that name became associated with him thereafter. His move to Mantua meant he escaped the disaster of the
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On the whole, Giulio Romano was more influential as an architect than as a painter and his works had an enormous impact on
Italian Mannerist architecture. He learned architecture the same way he learned painting, as an increasingly trusted assistant to Raphael, who was appointed the papal architect
593:, on its narrow entablature. The volutes of the Ionic capitals are repeated in the window surrounds between them: "The canonic orders here begin to be treated visually as independent from their structural purposes, and this liberation offered the architect new expressive possibilities."
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for arches used in the design. He also helped rebuild the ducal palace in Mantua, reconstructed the cathedral, and designed the nearby Church of San
Benedetto. Giulio sculpted the figure of Christ that is positioned above Castiglione's tomb in the church of Santa Maria delle Grazie, in
434:, near Mantua. Sections of Mantua that had been flood-prone were refurbished under Giulio's direction and the duke's patronage and friendship never faltered. The studio he established in Mantua became a popular school of art. Giulio's annual income amounted to more than 1000 ducats.
349:. Despite his relative youth, increasingly he became indispensable to the master and after the death of Raphael in 1520, he took a leading role in completing the Vatican commissions, designing the frescoes of the life of Constantine as well as completing Raphael's
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that were to be so prominent in his later buildings in Mantua, are already present on the ground floor, which dispenses with any classical order, but the two upper floors have increasingly shallow orders in pilasters, somewhat in the manner of the Villa Lante.
561:(1520–21) was a smaller suburban villa in Rome, with a famous view over the city. Romano made the whole building suggest lightness and elegance to exploit the ridge-top position and to overcome the rather small Roman footprint. The orders are delicate, with
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was a pleasure palace outside the city that was begun around 1524 and completed a decade later. Here Giulio was able, because of the function of the building, to indulge to the full his playful inventiveness.
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506:, the statue of Queen Hermione that was described as coming to life during the play was identified by the bard as having been sculpted by "that rare Italian master, Julio Romano".
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came to Mantua, Romano, by the duke's order, made many fine arches, scenes for comedies and other things, in which he had no peer, no one being like him for
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600:(started 1522–23), was a considerable contrast, being a palazzo in the city centre, with shops on the ground floor, and a massive, imposing feel. The
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pilasters above, whose presence is mainly conveyed by a different colour. Alternate loggia openings are heightened by arches above the
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Giulio designed tapestries as well. It also is rumored that he contributed to a collection of drawings upon which a group entitled,
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493:. All of those original drawings are said to have been destroyed because the content was no longer considered socially acceptable.
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1132:, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Giulio Romano (see index)
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was delegated by
Gonzaga to procure Giulio to execute paintings as well as architectural and engineering projects for the
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https://play.google.com/books/reader?id=r54NAAAAIAAJ&printsec=frontcover&output=reader&hl=en&pg=GBS.PA287
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was given to Giulio on
Raphael's death. It already shows his taste for playful surprises within the style of Renaissance
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in 1527, which hugely disrupted artistic patronage in Rome and dispersed the remainder of
Raphael's workshop.
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in the first half of the sixteenth century and brought concepts of the
Italian style to the French court of
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were a significant contribution to the spread of sixteenth-century
Italian style throughout Europe.
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The French version of his name is sometimes incorrectly left untranslated into
English documents.
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Giulio Romano has the distinction of being the only
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and he began his career there as a young assistant to the leading painter and architect
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His first building in Mantua has remained his most famous work in architecture. The
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in 1514 and his early works are very much in
Raphael's style. The project for the
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His masterpiece of architecture and fresco painting in Mantua is the suburban
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Tomba di Baldassare Castiglione, Cultura Italia, Un Patrimonio Da Esplorare.
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tradition, many works by Giulio were only temporary. According to Vasari:
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using designs by Raphael and, later painting a group of figures in the
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He died in Mantua in 1546. According to Vasari, his best pupils were
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fresco. He also collaborated on the decoration of the ceiling of the
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Portrait of Doña Isabel de Requesens y Enríquez de Cardona-Anglesola
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Portrait of Doña Isabel de Requesens y Enriquez de Cardona-Anglesola
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attempted to take over completion of the commission for the
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classicism help define the sixteenth-century style known as
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37:"Jules Romain" redirects here. For the French author, see
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Talvacchia, Bette, "Giulio Romano." Grove Art Online,
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http://bepi1949.altervista.org/vasari/vasari141.htm
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1151:. Vol. 12 (11th ed.). pp. 52–54.
357:in the Vatican. In Rome, Giulio decorated the
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906:. Oxford University Press. pp. 359–376.
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988:. George Rowney and Company. p. 103.
546:outside Rome, built by the future Medici
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403:. In late 1524, Giulio agreed to move to
27:Italian painter and architect (1499–1546)
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1052:"Adoración de los pastores - Colección"
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158:– 1 November 1546), known as
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878:Merriam-Webster.com Dictionary
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1212:–1517) (original design by
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255:Italian Renaissance painter
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729:Adoration of the Shepherds
635:The Stoning of St. Stephen
462:Giulio Romano selfportrait
425:–1535) and his use of the
242:[ˈdʒuːljoroˈmaːno]
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937:In his first edition of
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900:Vasari, Giorgio (1991).
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733:Giovanni Francesco Penni
604:and exaggerated size of
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500:. In Act V, Scene II of
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1453:Italian Roman Catholics
1148:Encyclopædia Britannica
947:; see also, Karl Elze,
598:Palazzo Maccarani Stati
395:(1511–1574), tells how
18:Giulio Romano (painter)
735:, Prado Museum, Madrid
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298:The fall of the Giants
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1438:Italian male painters
1284:–1519) (primarily by
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1142:"Giulio Romano"
1104:at Wikimedia Commons
1085:subscription required
951:, pp. 287-289 (1873)(
949:Essays on Shakespeare
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261:. He was a pupil of
30:For other uses, see
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752:Madonna & Child
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881:. Merriam-Webster
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86:Giulio Pippi
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1463:1546 deaths
1381:(1524–1534)
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1358:(1532–1534)
1350:(1524–1525)
1342:(1520–1524)
1334:(1522–1523)
1324: 1520
1309: 1520
1296:(1518–1520)
1282: 1518
1263: 1518
1244: 1518
1229: 1518
1210: 1514
759: 1523
602:rustication
579:entablature
468:(1788-1824)
451:masquerades
423: 1525
387:, ruler of
363:Clement VII
156: 1499
131:Nationality
93: 1499
76:, 101×86 cm
68: 1536
1422:Categories
1347:The Lovers
1016:Talvacchia
1007:Talvacchia
998:Talvacchia
859:References
657:, fresco (
416:Palazzo Te
317:Palazzo Te
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1366:Buildings
1194:Paintings
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606:keystones
591:triglyphs
589:, but no
571:pilasters
478:Francis I
447:Charles V
432:Curtatone
289:Biography
271:Mannerism
259:architect
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474:France
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275:prints
247:French
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839:Notes
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