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Some Definitions ... French Classicism. The expression characterises Parisian art between 1640 and 1650. After the vigour of Simon Vouet's painting, a whole new generation of artists arose who strove for strict, measured works, more intellectual but highly poetic, helped by clear, luminous colours, a smooth touch and concern for archaeological precision. This mastery of emotion, this delicacy of scene were meant to refer back to the artistic balance achieved in the days of Augustus. Laurent de La Hyre, Eustache Le Sueur and Jacques Stella are the most prominent representatives. Mannerism. When speaking of the style of Italian and European painting between 1520 and 1580-1600, it is customary to use the term Mannerism. The word, used since the 17th Century, has no pejorative significance. It comes from the Italian maniera, meaning style. But it does not cover a movement with only one supporter. From 1515 to about 1540, classical balance gradually dissolved. Court art reached its peak between 1540 and 1570, but the end of the century saw its refined style being overtaken by a more dramatic approach. The Mannerist artist worked less from nature than from artistic models to produce a studied, intellectual art; emotion was aroused less by the subject than by the manner in which it was treated. Art had to represent another reality, an imaginary response to difficult questions. References to the works of predecessors were frequent. The Mannerist figure is recognisable by its elongated proportions, curves and counter-curves. From these it gains refinement and grace. In Parma, Antonio Allegri, known as Correggio (1489-1534), related only partly to Mannerism. His art is characterised by the softness of its contours. The emotion radiating from his work should stir up the spectator's faith and banish all intellectual tension. His decorations for his town's churches and cathedral develop infinite and luminous spatial effects. Francesco Mazzola, known as Parmigianino (1503-1540) played more on unusual compositions and very curvy figures with elongated forms, prototypes of Mannerist grace. Still Life. The term only appeared in France at the end of the 17th Century. Before that, they spoke of "dead things without movement" or "silent life". It was in the 16th Century that this genre really came into its own, and it reached its peak in the 17th Century, particularly in the Northern countries. The first pictures showed objects juxtaposed on a table, seen from above and standing out against a dark background. Around 1620-1640, compositions became more complex, and objects were superimposed. Forms and colours reflected one another; the perspective had a tendency to conform to the viewer's line of sight and gave the impression of a conjuring trick. Still lifes with a moral or philosophical message, recalling human frailty or the shallowness of pleasure, also began to emerge during this period. The absence of a private tradition in France allowed the Flemish community of Saint-Germain-des-Prés to wield a certain amount of influence. However, French still lifes had often been painted by artists who were either Protestants or showed Jansenist leanings, and rapidly took on a more sober, austere tone than those of Flanders. Bambocciate. The Bamboccianti were the painters of "bambocciate", a name derived from the Dutch painter Pieter Van Laer. Because of his misshapen body, he was nicknamed Il Bamboccio (puppet) while he was working in Italy between 1625 and 1639. He created a new style of painting in Rome, "bambocciate", which portrays street scenes and everyday life on small panels. Without resorting to caricature, his scenes offer a new vision of reality and depict people of modest means in both their daily life and at dramatic moments: scenes of markets, banditry and drunken revelry. "Bambocciate" was a great success in Rome in the 17th Century and several artists specialised in it. Amongst the Bamboccianti living in Rome were Jan Miel, Lingelbach and Helmbrecker. Sébastien Bourdon, on his return from Italy and before developing into a great historical painter, adopted this style which made his name in Paris, where "bambocciate" was still a novelty.
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