DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.45257#0398
FRANQOIS CLOUET
236
in common. Had this not been so he would not
have appended to the picture the following inscrip-
tion : FR. JANETT OPUS PE. QUTTIO. AMICO
singulari etatis sve XLin, 1562. This portrait,
therefore, when compared, for instance, with that
of Charles IX at Vienna, gives the impression of
being less conventional and more sympathetic. It
has the same bluish curtain in the background, and
an open book lies on the table, in which may be
seen representations of certain plants, alluding to
the fact that the person represented was well known
as a botanist.
Since the discovery of the portrait of Pierre
Qtithe we can have no hesitation in attributing to
Francois Clouet another life-size portrait at Chan-
tilly : namely, that of Cardinal Odet de Coligny,
hitherto—though with some reserve—assigned to
Primaticcio on account of a misleading signature
evidently posterior to the painting. This portrait
and that of Henri II (Cabinet Clouet} (also attri-
buted, and with much more reason, to Primaticcio),
clearly exhibit the difference between the respective
artists without need for any further comment. The
curtain in the background, for which Francois had
so decided a predilection, is also to be found in
the portrait of Odet; and it appears to have been
Clouet’s latest work. It exhibits very decidedly
his appreciation for Italian methods, more espe-
cially those affected by Morone and Moretto of
Brescia, to whose work these two large portraits
by Francois Clouet bear a marked analogy.
236
in common. Had this not been so he would not
have appended to the picture the following inscrip-
tion : FR. JANETT OPUS PE. QUTTIO. AMICO
singulari etatis sve XLin, 1562. This portrait,
therefore, when compared, for instance, with that
of Charles IX at Vienna, gives the impression of
being less conventional and more sympathetic. It
has the same bluish curtain in the background, and
an open book lies on the table, in which may be
seen representations of certain plants, alluding to
the fact that the person represented was well known
as a botanist.
Since the discovery of the portrait of Pierre
Qtithe we can have no hesitation in attributing to
Francois Clouet another life-size portrait at Chan-
tilly : namely, that of Cardinal Odet de Coligny,
hitherto—though with some reserve—assigned to
Primaticcio on account of a misleading signature
evidently posterior to the painting. This portrait
and that of Henri II (Cabinet Clouet} (also attri-
buted, and with much more reason, to Primaticcio),
clearly exhibit the difference between the respective
artists without need for any further comment. The
curtain in the background, for which Francois had
so decided a predilection, is also to be found in
the portrait of Odet; and it appears to have been
Clouet’s latest work. It exhibits very decidedly
his appreciation for Italian methods, more espe-
cially those affected by Morone and Moretto of
Brescia, to whose work these two large portraits
by Francois Clouet bear a marked analogy.