Hugues Sambin (French pronunciation: [yɡsɑ̃bɛ̃] ; ca. 1520–1601) was a Franc-comtois sculptor, trained as a menuisier or wood-worker; [1] as a designer of Mannerist ornaments, his published designs, such as Oevvre de la diversite des termes, dont on use en architecture, reduicts en ordres, Lyon, 1572, inspired luxury furnishings, such as dressoires, armoires and cabinets. Its preface was signed "Hugues Sambin, Architecteur en la ville de Dijon".
As an architect, Sambin worked on the designs for temporary festive structures for the Royal Entry into Dijon of Henri II and that of Charles IX (1564), for which Sambin was coordinator; in more lasting commissions, he built the Parlement of Besançon and the structure that is palais de Justice at Dijon, built to house the Parlement of Burgundy (1572). Archival references have recently revealed that he had spent six months in 1544 working at the Palace of Fontainebleau, where the French Mannerist style was being rapidly evolved and perfected among the painters and stucco-workers and engravers of the School of Fontainebleau.
The somewhat hectic and overcharged style of Hugues Sambin was one of the models employed in Renaissance Revival architecture of the second half of the nineteenth century.
An exhibition at the Musée National de la Renaissance, Château d'Écouen, October 2001 – January 2002, and the catalogue, Hugues Sambin: Un Créateur au XVIe siècle (vers 1520-1601) (Alain Erlande-Brandenburg, curator) revived interest in the craftsman-designer, who was trained as a menuisier.
Mannerism is a style in European art that emerged in the later years of the Italian High Renaissance around 1520, spreading by about 1530 and lasting until about the end of the 16th century in Italy, when the Baroque style largely replaced it. Northern Mannerism continued into the early 17th century.
In European architectural sculpture, an atlas is a support sculpted in the form of a man, which may take the place of a column, a pier or a pilaster. The Roman term for such a sculptural support is telamon.
Palace of Fontainebleau, located 55 kilometers southeast of the center of Paris, in the commune of Fontainebleau, is one of the largest French royal châteaux. It served as a hunting lodge and summer residence for many of the French monarchs, including Louis VII, Francis I, Henry II, Louis-Philippe, Napoleon Bonaparte and Napoleon III. Though the monarchs only resided there for a few months of the year, they gradually transformed it into a genuine palace, filled with art and decoration. It became a national museum in 1927 and was designated a UNESCO World Heritage Site in 1981 for its unique architecture and historical importance.
Dijon is a city that serves as the prefecture of the Côte-d'Or department and of the Bourgogne-Franche-Comté region in eastern France. As of 2017 the commune had a population of 156,920.
The French Renaissance was the cultural and artistic movement in France between the 15th and early 17th centuries. The period is associated with the pan-European Renaissance, a word first used by the French historian Jules Michelet to define the artistic and cultural "rebirth" of Europe.
French art consists of the visual and plastic arts originating from the geographical area of France. Modern France was the main centre for the European art of the Upper Paleolithic, then left many megalithic monuments, and in the Iron Age many of the most impressive finds of early Celtic art. The Gallo-Roman period left a distinctive provincial style of sculpture, and the region around the modern Franco-German border led the empire in the mass production of finely decorated Ancient Roman pottery, which was exported to Italy and elsewhere on a large scale. With Merovingian art the story of French styles as a distinct and influential element in the wider development of the art of Christian Europe begins.
Events from the year 1520 in art.
The Château d'Écouen is an historic château in the commune of Écouen, some 20 km north of Paris, France, and a notable example of French Renaissance architecture. Since 1975, it has housed the collections of the Musée national de la Renaissance.
Tommaso Francini (1571–1651) and his younger brother Alessandro Francini were Florentine hydraulics engineers and garden designers. They worked for Francesco I de' Medici, Grand Duke of Tuscany, above all at the Villa Medicea di Pratolino, whose water features Francesco de Vieri described thus in 1586: "the statues there turn about, play music, jet streams of water, are so many and such stupendous artworks in hidden places, that one who saw them all together would be in ecstasies over them."
A cartouche is an oval or oblong design with a slightly convex surface, typically edged with ornamental scrollwork. It is used to hold a painted or low-relief design. Since the early 16th century, the cartouche is a scrolling frame device, derived originally from Italian cartuccia. Such cartouches are characteristically stretched, pierced and scrolling.
The French queen Catherine de' Medici was patron for building projects including the Valois chapel at the Basilica of Saint-Denis, the Tuileries Palace, and the Hôtel de la Reine in Paris, and extensions to the Château de Chenonceau, near Blois. Born in 1519 in Florence, Catherine de' Medici was a daughter of both the Italian and the French Renaissance. She grew up in Florence and Rome under the wing of the Medici popes, Leo X and Clement VII. In 1533, at the age of fourteen, she left Italy and married Henry, the second son of King Francis I of France. On doing so, she entered the greatest Renaissance court in northern Europe.
The Henry II style was the chief artistic movement of the sixteenth century in France, part of Northern Mannerism. It came immediately after the High Renaissance and was largely the product of Italian influences. Francis I and his daughter-in-law, Catherine de' Medici, had imported to France a number of Italian artists from Raphael's workshop or former assistants of Michelangelo, known as the School of Fontainebleau, where many were based. Frenchmen were trained in the Mannerist idiom. Besides the work of Italians in France, many Frenchman picked up Italianisms while studying art in Italy during the middle of the century. The Henry II style, though named after Henry II of France, in fact lasted from about 1530 until 1590 under five French monarchs, their queens, and their mistresses.
Hugues is a masculine given name most often found in francophone countries, a variant of the originally Germanic name "Hugo" or " Hugh". The final s marks the nominative case in Old French, but is not retained by modern pronunciation. The old oblique case Hugon disappeared.
The French formal garden, also called the jardin à la française, is a style of "landscape" garden based on symmetry and the principle of imposing order on nature. Its epitome is generally considered to be the Gardens of Versailles designed during the 17th century by the landscape architect André Le Nôtre for Louis XIV and widely copied by other European courts.
Northern Mannerism is the form of Mannerism found in the visual arts north of the Alps in the 16th and early 17th centuries. Styles largely derived from Italian Mannerism were found in the Netherlands and elsewhere from around the mid-century, especially Mannerist ornament in architecture; this article concentrates on those times and places where Northern Mannerism generated its most original and distinctive work.
Bernard Salomon (1506–1561), also known as the Little Bernard B. Gallus or Gallo, was a French painter, draftsman and engraver.
William McAllister-Johnson was a Canadian scholar and Professor who was a specialist of the history of prints and printmaking, especially in 18th-century France.
Jean Le Fèvre, was a 16th-century French canon in Langres and Bar-sur-Aube.
Nicolas Ribonnier was a 16th-century French architect.
In the 16th century, the Renaissance, which called for a return to the models of Roman antiquity, spread throughout Europe from Italy, notably through treatises and engravings referring to the treatise De architectura by Vitruvius, Roman theorist of ancient architecture. Each center of culture and creation reinterpreted these new references according to its local traditions.