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Diane de Poitiers, Duchesse de Valentinois (1499)   Reference library

The Grove Encyclopedia of Northern Renaissance Art

...called ‘Diane de Poitiers’ (Washington, DC, N.G.A.; see fig.). Clouet's Diana Bathing (Rouen, Mus. B.-A.), known in various versions, also seems to depend on a lost original from Anet. François Clouet (after): Diane de Poitiers , oil on panel, 270×109 mm, second-half of the 16th century (Chantilly, Musée Condé, Château de Chantilly); photo credit: Réunion des Musées Nationaux/Art Resource, NY P. Erlanger : Diane de Poitiers (Paris, 1955) F. Bardon : Diane de Poitiers et le mythe de Diane (Paris, 1963) A. Chastel : ‘Diane de Poitiers: L’Eros de la...

Anet, Château d'   Reference library

Patrick Taylor

The Oxford Companion to the Garden

...Anet, Eure-et-Loire, France, built between 1547 and 1552 for Diane de Poitiers to the designs of Philibert de L'Orme —one of the finest French Renaissance buildings. De L'Orme also designed an orangery overlooking its own walled garden. Nothing survives of this, and only fragments of the other gardens seen in Du Cerceau 's engraving—a magnificent ensemble of ornate parterres in a galleried enclosure to the north of the chateau. Later in the 16th century the earliest known parterre de broderie was designed for Anet by Claude Mollet ( see Mollet,...

Chenonceaux, château of   Reference library

The Grove Encyclopedia of Northern Renaissance Art

...have suggested de L’Orme's involvement, is recorded in a plan published in Jacques Androuet Du Cerceau's Les Plus Excellents Bastiments de France (Paris, 1576–9 ). The alterations made at this time to the east and north façades were effaced during mid-19th-century restoration. Formal gardens were laid out for Diane de Poitiers to the east and for Catherine de’ Medici to the west. 1. Château of Chenonceaux, begun c. 1514, view from the south; photo credit: Vanni/Art Resource, NY; see Chenonceaux F. Gebelin : Les Châteaux de la Loire (Paris,...

L’Orme [Delorme], Philibert de (June 1514)   Reference library

The Grove Encyclopedia of Northern Renaissance Art

...church plans such as those of Leonardo da Vinci. During the time that he was designing the alterations to Saint-Léger, de L’Orme was also at work on his most famous building, the château of Anet , Eure-et-Loire. In 1547 Henry II put de L’Orme's services at the disposal of his mistress, Diane de Poitiers, who had already begun enlarging the existing buildings, in part as a memorial to her late husband, Louis de Brézé. The result of de L’Orme's intervention from 1547 to 1555 was to transform Anet into one of the most magnificent great houses in France,...

Iron   Reference library

The Grove Encyclopedia of Decorative Arts

...of Fontainebleau and Anet, for example, and a number of highly elaborate keys survive, including the ‘Strozzi key’ ( London, V&A ), reputedly made to admit Diane de Poitiers , the mistress of the French king Henry II , to the latter's private apartments. Probably dating in fact from the early 17th century, the key closely resembles a design in a locksmithing treatise, La Fidelle Ouverture de l’art du serrurier , published by Mathurin Jousse in Paris in 1627 . Its bow (the loop forming the handle) consists of two grotesque figures back-to-back, a...

Goujon, Jean (b c.1510)   Reference library

The Grove Encyclopedia of Northern Renaissance Art

...with works at Rouen Cathedral, but the extent of his responsibility remains unclear. Records referring to the marble praying effigy of Cardinal Georges II d’Amboise on the Amboise tomb are not explicit, while the marble sculptures on the tomb ( 1544 ) of Louis de Brézé , husband of Diane de Poitiers, do not correspond to Goujon's style in execution; it is possible that he provided only the design for this remarkable two-storey classical structure, which has Corinthian columns on the lower tier and pairs of caryatids articulating the upper register. 2. Paris,...

Clouet   Reference library

The Grove Encyclopedia of Northern Renaissance Art

...( 1510–63 ), perhaps reflecting either an early trip to Italy or merely a knowledge of the lost portrait of Pietro Aretino by Salviati once owned by Francis I. The well-known genre portrait of a Lady in her Bath (Washington, DC, N.G.A.), traditionally identified as Diane de Poitiers, mistress of Henry II, but more plausibly Marie Touchet, mistress of Charles IX, is a curious amalgam of the courtly and the realistic. The principal motif is derived from the so-called ‘Monna Vanna’ portraits coming from Leonardo's studio, of which the best surviving...

France   Reference library

The Grove Encyclopedia of Northern Renaissance Art

...de L’orme was born in Lyon, and his earliest surviving work there, the gallery ( 1535 ) of the Hôtel Bulliod, executed after his return from three years in humanist circles in Rome, admirably combines a scrupulously observed Ionic order and virtuoso masonry. Cardinal Jean Du Bellay ( 1492–1560 ), prominent among the French in Rome, brought de L’Orme to Paris c. 1540 to design a château at Saint-Maur-les-Fossés (begun c. 1541 ), Val-de-Marne. De L’Orme became principal architect to the Dauphin (later Henry II) and his mistress Diane de Poitiers from ...

breast   Reference library

The Oxford Companion to the Body

...The ideal in the Middle Ages was to have firm, white, apple-shaped globes, far from the Hollywood images of Jane Russell or Lana Turner , and even further from the pneumatic breasts of top-shelf magazines. Sixteenth-century kings' mistresses, most notably Agnès Sorel , Diane de Poitiers , and Gabrielle d'Estrées , were painted showing their breasts; Agnès was even represented as the Madonna. As the size and shape of the ideal breast has varied dramatically over time and space, so fashions have changed to reshape the normal range of breasts to fit the...

Valois, House of   Reference library

The Grove Encyclopedia of Northern Renaissance Art

...also launched new ones and seems to have had a more sophisticated taste (see fig.). In 1548 he put philibert de L’orme in charge of the Bâtiments du Roi, his authority extending to the château of Anet (Eure-et-Loire) belonging to the royal mistress Diane de poitiers . De L’Orme brought a new and more developed classical style to the various royal works in progress, for example at the château of Fontainebleau, where he completed the Salle de Bal with a coffered ceiling. The new and more severe taste, which seems to have been Henry's own, is even more...

Fontainebleau school   Reference library

The Grove Encyclopedia of Northern Renaissance Art

...The exuberant decoration of Lescot's façade of the Cour Carrée of the Palais du Louvre, with its exquisite figures in relief ( 1547–50 ) carved by Jean Goujon , would be unthinkable without the example of Primaticcio. The fact that much of the sculptural decoration at Diane de Poitiers's château of Anet (Eure-et-Loire) was attributed to Jean Goujon points to a similar source of inspiration, even if the attribution itself is discredited. Indeed, the well-known statue of Diana with a Stag (ex-château of Anet; Paris, Louvre), sometimes attributed to Goujon,...

Iron and steel   Reference library

The Grove Encyclopedia of Materials and Techniques in Art

...Anet, for example, and a number of highly elaborate keys survive, including the ‘Strozzi key’ (London, Victoria and Albert Museum), reputedly made to admit Diane de Poitiers, the mistress of the French king Henry II ( reg 1547–59 ), to the latter's private apartments. Probably dating in fact from the early 17th century, the key closely resembles a design in a locksmithing treatise, La Fidelle Ouverture de l’art du serrurier , published by Mathurin Jousse (1607–before 1692 ) in Paris in 1627 . Its bow (the loop forming the handle) consists of two grotesque...

Jazz   Reference library

Black Women in America (2 ed.)

...with the help of future husband Max Roach, she was able to develop seriously as a musician, recording an album a year until 1962 . She appeared in two excellent films in the 1960s, Nothing but a Man ( 1964 ) with Ivan Dixon and For Love of Ivy ( 1968 ) with Sidney Poitier . She also became very active in African American politics. During most of the 1970s, Lincoln traveled and seldom appeared on American stages. In 1972 , while on vacation in Africa, she was given her African first and last names—Aminata Moseka—by government officials in Guinea...