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Crayon on paper; 44.5 x 31.8 cm.
Pavel Tchelitchew was a Russian-born surrealist painter, set designer and costume designer. He left Russia in 1920, lived in Berlin from 1921 to 1923, and moved to Paris in 1923. In Paris Tchelitchew became acquainted with Gertrude Stein and, through her, the Sitwell and Gorer families. He and Edith Sitwell had a long-standing close friendship and they corresponded frequently.
His first U.S. show was of his drawings, along with other artists, at the newly-opened Museum of Modern Art in 1930. In 1934, he moved from Paris to New York City with his partner, writer Charles Henri Ford. From 1940 to 1947, he provided illustrations for the Surrealist magazine View, edited by Ford and writer and film critic Parker Tyler. His most significant work is the painting Hide and Seek, painted in 1940–42, and currently on display in the Museum of Modern Art in New York City. He became a United States citizen in 1952 and died in Grottaferrata, Italy in 1957.
Tchelitchew's early painting was abstract in style, described as Constructivist and Futurist and influenced by his study with Aleksandra Ekster in Kiev. After emigrating to Paris he became associated with the Neoromanticism movement. He continuously experimented with new styles, eventually incorporating multiple perspectives and elements of surrealism and fantasy into his painting. As a set and costume designer, he collaborated with Serge Diaghliev and George Balanchine, among others.
Among Tchelitchew's well-known paintings are portraits of Natalia Glasko, Edith Sitwell and Gertrude Stein and the works Phenomena (1936-1938) and Cache Cache (1940-1942). He designed sets for Ode (Paris, 1928), L'Errante (Paris, 1933), Nobilissima Visione (London, 1938) and Ondine (Paris, 1939), among other productions.
Many marriges are celebrated in this church. Here some guests are waiting for the young couple to arrive and be wed.
fresco of the Virgin Mary and the Child Jesus with St. Nilo and a brother monk [possibly St. Basil?]
Sculptural decoration
In 1547 Jean Goujon (1510-1572) became the court sculptor for Henry II, and the fountain was one of his first important commissions. In the same year he made illustrations for the French translation of the book of architecture by Vitruvius, one of the major classical sources of the architecture of the Italian Renaissance and the French Renaissance. Later he worked again with Pierre Lescot on the bas-reliefs for the Cour Carrée of the Louvre Palace.
Though he was the court sculptor of Henry II, Goujon was a Protestant, and he was forced to go into self-exile in Italy during the French Wars of Religion, when Henry II began serious persecution of Protestants in France.
Goujon was one of the first French sculptors to take his inspiration from the sculpture of ancient Rome, particularly the bas-relief sculptures on Roman sarcophagi. The nymph and triton on one of the fountain panels (see illustration) resembled a Roman sarcophagus in Grottaferrata, which was one display when Goujon was in Rome, and which was drawn by many artists in the 16th century. The Triton’s hair resembled that in an ancient statue of The River Tiber discovered in Rome in 1512.
Goujon’s work on the fountain was also inspired by the Italian artists who had come to work for Francis I at the Château de Fontainebleau, Rosso Fiorentino (1495-1540) and Francesco Primaticcio (1504-1570). The nymph and sea dragon on the fountain had the same pose as nymph of Fontainebleau, by Rosso, in the Galerie François I of the chateau, and the female forms of the nymphs, with their elongated bodies, narrow shoulders, and small, high breasts, resembled the idealized female figures of Primaticcio.
Goujon’s own personal contribution was to add a decorative swirling movement to the sculptures, with undulating drapery and curling scrolls made of sea shells and the tails of sea creatures
Il sole che ti intorpidisce, il venticello che ti bacia, i colori che ti cullano: la pace dei sensi.
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Sculptural decoration
In 1547 Jean Goujon (1510-1572) became the court sculptor for Henry II, and the fountain was one of his first important commissions. In the same year he made illustrations for the French translation of the book of architecture by Vitruvius, one of the major classical sources of the architecture of the Italian Renaissance and the French Renaissance. Later he worked again with Pierre Lescot on the bas-reliefs for the Cour Carrée of the Louvre Palace.
Though he was the court sculptor of Henry II, Goujon was a Protestant, and he was forced to go into self-exile in Italy during the French Wars of Religion, when Henry II began serious persecution of Protestants in France.
Goujon was one of the first French sculptors to take his inspiration from the sculpture of ancient Rome, particularly the bas-relief sculptures on Roman sarcophagi. The nymph and triton on one of the fountain panels (see illustration) resembled a Roman sarcophagus in Grottaferrata, which was one display when Goujon was in Rome, and which was drawn by many artists in the 16th century. The Triton’s hair resembled that in an ancient statue of The River Tiber discovered in Rome in 1512.
Goujon’s work on the fountain was also inspired by the Italian artists who had come to work for Francis I at the Château de Fontainebleau, Rosso Fiorentino (1495-1540) and Francesco Primaticcio (1504-1570). The nymph and sea dragon on the fountain had the same pose as nymph of Fontainebleau, by Rosso, in the Galerie François I of the chateau, and the female forms of the nymphs, with their elongated bodies, narrow shoulders, and small, high breasts, resembled the idealized female figures of Primaticcio.
Goujon’s own personal contribution was to add a decorative swirling movement to the sculptures, with undulating drapery and curling scrolls made of sea shells and the tails of sea creatures