The Info List - Giulio Romano

Giulio Romano, also known as Giulio Pippi, (c. 1499 – 1 November 1546) was an Italian painter and architect. A pupil of Raphael, his stylistic deviations from high Renaissance
classicism help define the 16th-century style known as Mannerism. Giulio's drawings have long been treasured by collectors; contemporary prints of them engraved by Marcantonio Raimondi
Marcantonio Raimondi
were a significant contribution to the spread of 16th-century Italian style throughout Europe.


1 Biography 2 Architecture 3 Selected paintings and drawings 4 Notes 5 References 6 External links


The fall of the Giants, fresco in Sala dei Giganti, Palazzo del Te, Mantua

In the Palazzo Te, Mantua.

Giulio Romano
Giulio Romano
was born in Rome; the "Romano" refers to this. As a young assistant in Raphael's studio, he worked on the frescos in the Vatican loggias
Vatican loggias
to designs by Raphael
and in Raphael's Stanze in the Vatican painted a group of figures in the Fire in the Borgo
Fire in the Borgo
fresco. He also collaborated on the decoration of the ceiling of the Villa Farnesina. Increasingly he became the master's right-hand man, despite his relative youth. After the death of Raphael
in 1520, he helped complete the Vatican frescoes of the life of Constantine as well as Raphael's Coronation of the Virgin and the Transfiguration in the Vatican. In Rome, Giulio decorated the Villa Madama
Villa Madama
for Cardinal Giuliano de' Medici, afterwards Clement VII.[1] The crowded Giulio Romano frescoes lack the stately and serene simplicity of his master. From 1522 he was courted by Federico Gonzaga, ruler of Mantua, who wanted him as court artist, apparently especially attracted by his skill as an architect. In late 1524 Giulio agreed to move to Mantua, where he remained for the rest of his life. He thus avoided the disaster of the Sack of Rome
in 1527, which hugely disrupted artistic patronage in Rome
and dispersed the remains of Raphael's workshop. Vasari
tells how Baldassare Castiglione
Baldassare Castiglione
was delegated by Federico Gonzaga to procure Giulio to execute paintings and architectural and engineering projects for the duchy of Mantua. His masterpiece of architecture and fresco painting in that city is the suburban Palazzo Te, with its famous illusionistic frescos (c. 1525–1535). He also helped rebuild the ducal palace in Mantua, reconstructed the cathedral, and designed the nearby Church of San Benedetto. Guilio sculpted the figure of Christ which is positioned above Castiglione’s tomb in the church of Santa Maria delle Grazie near Mantua.[2][3] Sections of Mantua
that had been flood-prone were refurbished under Giulio's direction, and the duke's patronage and friendship never faltered: Giulio's annual income amounted to more than 1000 ducats. His studio became a popular school of art. In Renaissance
tradition, many works of Giulio's were only temporary. According to Giorgio Vasari:

When Charles V came to Mantua, Giulio, 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 masquerades, 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.[4]

Giulio Romano, selfportrait

He traveled to France
in the first half of the 16th century and brought concepts of the Italian style to the French court of Francis I. Giulio also designed tapestries. It is rumored that he contributed to the drawings upon which the album I Modi
I Modi
was engraved by Marcantonio Raimondi. He died in Mantua
in 1546. According to Giorgio Vasari, his best pupils were Giovanni dal Lione, Raffaellino dal Colle, Benedetto Pagni, Figurino da Faenza, Giovanni Battista Bertani
Giovanni Battista Bertani
and his brother Rinaldo, and Fermo Guisoni. Giulio Romano
Giulio Romano
has the distinction of being the only Renaissance
artist to be mentioned by William Shakespeare. In Act V, Scene II of The Winter's Tale Queen Hermione's statue is by "that rare Italian master, Julio Romano." Architecture[edit] Giulio was on the whole more influential as an architect than as a painter, and his works had an enormous impact on Italian Mannerist architecture. He learnt architecture the same way he learned painting, as an increasingly trusted assistant to Raphael, who was appointed the papal architect in 1514, and his early works are very much in Raphael's style. The project for the Villa Madama
Villa Madama
outside Rome, built by the future Medici Pope Clement VII
Clement VII
was given to Giulio on Raphael's death, and already shows his taste for playful surprises within the style of Renaissance
classical architecture. Planned on a huge scale, it was incomplete by the Sack of Rome, and never finished.[5] The Villa Lante al Gianicolo
Villa Lante al Gianicolo
(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 overcome the rather small Roman footprint. The orders are delicate, with Tuscan or Doric columns and pilasters in pairs on the main floor, and extremely shallow Ionic pilasters above, whose presence is mainly conveyed by a different colour. Alternate loggia openings are heightened by arches above the entablature. Romano's willingness to play with the conventions of the classical orders is already in evidence; the Doric here has guttae but no triglyphs 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."[6] His last building in Rome, the Palazzo Maccarani Stati (it) (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 rustication and exaggerated size of keystones 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.[7] His first building in Mantua
has remained his most famous work in architecture. The Palazzo del Te
Palazzo del Te
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. Selected paintings and drawings[edit]

Madonna & Child, c. 1523

The Stoning of St. Stephen (Santo Stefano, Genoa): "Giulio never did a finer work than this," said Vasari. Domenico del Barbiere engraved the subject, so that it influenced designers who never saw the original in Genoa. Adoration of the Magi (Louvre). Fire in the Borgo, fresco ( Raphael
Rooms in Vatican City). Emblematic Figures, pen and brown ink and wash over graphite (Fine Arts Museum of San Francisco). The Battle of the Milvian Bridge The Triumph of Titus and Vespasian Portrait of Doña Isabel de Requesens y Enriquez de Cardona-Anglesola

Giulio Romano's paintings

Margherita Paleologo (1510–66)

Donna alla toeletta, 1520

Adoration of the Shepherds

Portrait of Doña Isabel de Requesens (with the possible intervention of Raphael)

St. John the Baptist in the Wilderness


^ Vasari, Giorgio (1991). The Lives of the Artists. Oxford University Press. pp. 359–376. ISBN 9780191605482.  ^ Tomba di Baldassare Castiglione, Cultura Italia, Un Patrimonio Da Esplorare. ^ In the first edition of The Lives of the Artists, published in 1550, Vasari
includes an epithet mentioning Guilio as a sculptor (“Videbat Jupiter corpora sculpta pictaque spirare”—“Jupiter saw sculpted and painted bodies breathe”); see http://bepi1949.altervista.org/vasari/vasari141.htm; see also, Karl Elze, Essays on Shakespeare, pp. 287-289 (1873)(https://play.google.com/books/reader?id=r54NAAAAIAAJ&printsec=frontcover&output=reader&hl=en&pg=GBS.PA287). ^ Vasari, Vite ^ Talvacchia ^ Talvacchia ^ Talvacchia


Talvacchia, Bette, "Giulio Romano." Grove Art Online, Oxford Art Online, Oxford University Press, accessed March 30, 2016, subscription required

External links[edit]

Vita[1] by Giorgio Vasari, who describes his meeting with Giulio:

" At this time Giorgio Vasari
a great friend of Giulio, though they only knew each other by report and by letters, passed through Mantua on his way to Venice to see him and his works. On meeting, they recognised each other as though they had met a thousand times before. Giulio was so delighted that he spent four days in showing Vasari
all his works, especially the plans of ancient buildings at Rome, Naples, Pozzuolo, Campagna, and all the other principal antiquities designed partly by him and partly by others. Then, opening a great cupboard, he showed him plans of all the buildings erected from his designs in Mantua, Rome
and all Lombardy, so beautiful that I do not believe that more original, fanciful or convenient buildings exist."

The engravings of Giorgio Ghisi, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Giulio Romano (see index)

Wikimedia Commons has media related to Giulio Romano.

has the text of the 1913 Catholic Encyclopedia
Catholic Encyclopedia
article Giulio Romano.

Authority control

WorldCat Identities VIAF: 74007636 LCCN: n50065111 ISNI: 0000 0001 2102 3744 GND: 118639242 SELIBR: 188288 SUDOC: 028351517 BNF: cb13499172f (data) ULAN: 500115304 NLA: 35481038 NDL: 00887254 NKC: mzk2007395103 BNE: XX1041806 KulturNav: bb0d61ed-f1b4-414a-b78f-79c2a0c324ee RKD: 32026 SN