The most powerful and original French sculptor of the 16th century. Early Mannerist influences on his work were displaced by a greater realism. He excelled in bronze as well as marble, both as a portrait sculptor and a medallist. He carved Francis I’s tomb (1558-59) and Henry II’s tomb (1564-83) at Saint-Denis, and sculptures for Fontainebleau and the Louvre and at the chateau d’Anet (for Diane de Poitiers).
The kneeling statue was made for the funeral chapel of Birague in the church of Sainte-Catherine-du-Val-des-Ecoliers in Paris, after the contract concluded between the daughter of the deceased, a cousin and Germain Pilon on February 1, 1584. The broad design of the tomb, which was destroyed when the church was condemned in 1783, is known to us from a drawing made in the 17th century. It included bronze sculptures flanked by columns.
The contract tells us that the statue was “painted, coloured and filled out accordingly and to the life”. The cloak was painted red, since Birague, a native of Milan who had taken French nationality in 1565 and in 1573 was appointed chancellor of France, took holy orders after his wife’s death and became a cardinal in 1578.
Pilon was the outstanding genius of his period in France. He, although young, had advanced so far by the 1560s that he was entrusted with the commission for a receptacle for the heart of Heni II, and for this he produced one of his most enchanting works.
The picture shows the Caryatids for the urn which contained the heart of Henri II. The elegance, poise and balance that Pilon has given to what otherwise might have been a rather hackneyed presentation make it an outstanding work of art in which is blended the best of the French and Italian.
Charles IX succeeded his elder brother Fran�ois II un 1560 and was succeeded in 1574 by his younger brother Henri III, the last of the Valois kings of France.
At the end of the 18th century, Alexandre Lenoir attributed the Diana from the château of Anet, Eure-et-Loire, sometimes identified as Diane de Poitiers, to Jean Goujon. It is impossible that Goujon, burdened as he was by his responsibilities in Paris, could have worked at the château of Anet, which was begun in 1548 and completed in 1555 by Philibert Delorme.
Goujon’s style has wrongly been seen as a slow but continuous progression from a Mannerism influenced by Parmigianino to a classicism influenced by antique models. It has also been common to attribute indiscriminately to him any elegant female figure of the period, most notably the famous marble group of Diana with a Stag. This work is more likely to be by Germain Pilon, who dominated French sculpture in the second half of the 16th century.
The statue type itself was established in France by Cellini in 1543 at Fontainebleau.
At the end of the 18th century, Alexandre Lenoir attributed the Diana from the château of Anet, Eure-et-Loire, sometimes identified as Diane de Poitiers, to Jean Goujon. It is impossible that Goujon, burdened as he was by his responsibilities in Paris, could have worked at the château of Anet, which was begun in 1548 and completed in 1555 by Philibert Delorme.
Goujon’s style has wrongly been seen as a slow but continuous progression from a Mannerism influenced by Parmigianino to a classicism influenced by antique models. It has also been common to attribute indiscriminately to him any elegant female figure of the period, most notably the famous marble group of Diana with a Stag. This work is more likely to be by Germain Pilon, who dominated French sculpture in the second half of the 16th century.
The statue type itself was established in France by Cellini in 1543 at Fontainebleau.
In addition to the bronze and marble monument, in 1583 Pilon executed two further recumbent marble effigies of Henry II and Catherine de’ Medici, this time represented in precisely rendered coronation robes. These must also have been intended for the Valois Chapel.
In addition to the bronze and marble monument, in 1583 Pilon executed two further recumbent marble effigies of Henry II and Catherine de’ Medici, this time represented in precisely rendered coronation robes. These must also have been intended for the Valois Chapel.
In addition to the bronze and marble monument, in 1583 Pilon executed two further recumbent marble effigies of Henry II and Catherine de’ Medici, this time represented in precisely rendered coronation robes. These must also have been intended for the Valois Chapel.
In addition to the bronze and marble monument, in 1583 Pilon executed two further recumbent marble effigies of Henry II and Catherine de’ Medici, this time represented in precisely rendered coronation robes. These must also have been intended for the Valois Chapel.
In addition to the bronze and marble monument, in 1583 Pilon executed two further recumbent marble effigies of Henry II and Catherine de’ Medici, this time represented in precisely rendered coronation robes. These must also have been intended for the Valois Chapel.
This marble monument was originally in the Celestine church in Paris. It was doubtless inspired by a perfume burner conceived by Raphael for Fran�ois I, known to us through an engraving by Marcantonio Raimondi.
The figures of the Graces are the work of Pilon, while the base was executed by Domenico del Barbiere. The urn for the heart of Henry II is a nineteenth-century restoration.
The figures of the Graces are the work of Pilon, while the base was executed by Domenico del Barbiere. The urn for the heart of Henry II is a nineteenth-century restoration.
Catherine de’ Medici designed a mausoleum for her husband, Henry II, herself, and her sons. This was the Chapelle des Valois, a circular building to be added to the end of the north transept at St Denis. In the middle was to stand the tomb of the King and Queen, which was begun in 1560 on Primaticcio’s designs, the sculpture being carried out by Germain Pilon. The tomb was Primaticcio’s solution to the problem tackled by the Giusti and Delorme in the monuments to Louis XII and Francis I. This tomb seems to be conceived more completely in the round due in part to the position for which the tomb of Henry II was destined, that is to say, the centre of a circular chapel, where it would have been seen from every angle.
Like the tombs for Louis XII and Anne of Brittany and for Francis I, this is an architectural monument and ensemble of sculpture, in this case commissioned by the Queen for her husband. Originally it was in a mausoleum - a rotunda - within the north transept designed for the Valois kings. It was torn down in the early 18th century. The original plan is usually credited to Primaticcio but the tomb was not actually erected by the time of his death in 1570. The history of the subsequent commissions is complex, but today scholars credit Germain Pilon with the sculptures.
Like the tomb for Louis XII and Anne of Brittany, this one also has praying figures on the top. However, here instead of being posed with praying hands, as his wife is and as in earlier examples, Henry covers his breast with his right hand and reaches out with his left - to his prayer desk and liturgical book. (During the French Revolution the two prayer desks were melted down.) While the praying - and alive - figures traditionally represent a new life in eternity, here the pair, wearing coronation garments, also represent “the trustees of the kingdom of France within the Kingdom of heaven” so that the after life is imagined as a copy of the earthly life.
The photo shows the lower part of the monument.
Like the tombs for Louis XII and Anne of Brittany and for Francis I, this is an architectural monument and ensemble of sculpture, in this case commissioned by the Queen for her husband. Originally it was in a mausoleum - a rotunda - within the north transept designed for the Valois kings. It was torn down in the early 18th century. The original plan is usually credited to Primaticcio but the tomb was not actually erected by the time of his death in 1570. The history of the subsequent commissions is complex, but today scholars credit Germain Pilon with the sculptures.
Like the tomb for Louis XII and Anne of Brittany, this one also has praying figures on the top. However, here instead of being posed with praying hands, as his wife is and as in earlier examples, Henry covers his breast with his right hand and reaches out with his left - to his prayer desk and liturgical book. (During the French Revolution the two prayer desks were melted down.) While the praying - and alive - figures traditionally represent a new life in eternity, here the pair, wearing coronation garments, also represent “the trustees of the kingdom of France within the Kingdom of heaven” so that the after life is imagined as a copy of the earthly life.
The photo shows the praying figures on the top.
Pilon appeared as the greatest new sculptor in the 1560s and he became the outstanding genius of this period in France. He worked under the direction of Primaticcio on the astonishing monument to King Henri II and Queen Catherine de’ Medici. This is not only one of the stranger philosophical statements of royalty, but one of the world’s major masterpieces of sculpture. Here Pilon shows himself working in at least two entirely different manners.
Above, the figures of the King and Queen are represented kneeling in prayer, and rendered in a way that emphasizes the Italian influence and recalls sober court portraiture in the most impeccable royal taste. But on a platform below, the King and Queen lie naked, portrayed as cadavers. This is Northern. The idea of the cadaver was Gothic, and though it was fairly rare, an example was to be found on the neighbouring tomb of Fran�ois I. But as rendered by Pilon it is fascinating both as a demonstration of religious feeling and sign of the confidence the monarchy must have felt in its position to admit such personal, worldly fallability. In this curious, dramatic and sensitive handling we find another facet of Pilon, and one in which he is as superb as in any of his styles.
The photo shows the naked figures below.
The photo shows the two naked, recumbent, marble effigies of the King and Queen on the lower tier of the marble and bronze mausoleum of Henry II and Catherine de’ Medici. The figures combine grace with realism,
The picture shows one of the bronze figures at the corners of the monument, representing the Virtues.
The picture shows one of the bronze figures at the corners of the monument, representing the Virtues.
The picture shows one of the bronze figures at the corners of the monument, representing the Virtues.
This is a detail of the monument to Chancelor Ren� de Biraghe, a slightly later monument than that to Valentine Balbiani, wife of the Cnacellor. The naturalistic yet formal interpretation of the kneeling figure of the Chancellor was to set the fashion for many decades.
This is a detail of the monument to Chancellor Ren� de Biraghe, a slightly later monument than that to Valentine Balbiani, wife of the Chancellor. The naturalistic yet formal interpretation of the kneeling figure of the Chancellor was to set the fashion for many decades.
The picture shows two remaining elements of the tomb of Valentine Balbiani, wife of the French Chancellor Ren� de Birague. A bas-relief is carved upon the tomb’s base showing her decomposed corpse (Annothomia) within, and atop the tomb is a statute of the reclining lady shown reading a book, accompanied by her dog.
In a detailed contract executed with Germain Pilon in 1574, Chancellor Ren� de Birague stipulated exactly how he wanted the sculptor to depict his wife, Valentine Balbiani (1518-1572), who had just died. Originally in Sainte-Catherine-du-Val-des-�coliers in Paris, the tomb was dismantled in 1793, only a few fragments survive (now in the Louvre).
Reclining on her elbow in a daybed, Valentine is pensive, a book in her hand and her little dog by her side. Her elegant mien and dress and the whiteness of the marble must have produced a striking effect when combined with the black marble framing elements of the tomb. But the more telling contrast was with the relief depicting her body “in a deceased state” that the chancellor directed be set into its sarcophagus. His intention may have been to convey the brutal suddenness of his lost.
Almost 20 years after the monument to Henri and Catherine de’ Medici, Pilon was to repeat the cadaver theme in a relief on the monument to Valentine Balbiani, wife of the Chancellor Ren� de Birague. The treatment here is closely related to that of the royal figures, though possibly more acidly dynamic.
20 years after the monument to Henri and Catherine de’ Medici, Pilon was to repeat the cadaver theme in a relief on the monument to Valentine Balbiani, wife of the Chancellor Ren� de Birague. The treatment here is closely related to that of the royal figures, though possibly more acidly dynamic.
Beside Jean Goujon, Germain Pilon was the other great French sculptor of the period. Basically his inspiration derives from the Fontainebleau stuccos, but he develops a wonderfully flowing movement, which is deeply expressive.
The bronze relief “Lamentation” belongs to the tomb of Ren� de Biraghe. The monument depicts the figures of the Chancellor and his wife, Valentine Balbiani. There are strong traces of Italian influence here, principally of Michelangelo and his school.
This figure of the stricken Virgin was intended for the Valois rotunda, the necropolis conceived by Catherine de’ Medici to house the sepulcher of Henri II and his descendants and thus give permanent expression to the pain of the successive losses experienced by the queen mother. The marble statue is now in the church of Saint-Paul-Saint-Louis in Paris. Exceptionally, its terracotta maquette (now in the Louvre) was not destroyed but was placed in the upper chapel of the Sainte-Chapelle, a sign of the importance attached to Pilon’s work in the sixteenth century.
This exquisite terracotta Virgin recalls the lyrical late French Gothic.
This statue has been intended for the new Valois Chapel (destroyed) at Saint-Denis. As was usual with Pilon, before working the marble of the Virgin he produced a terracotta maquette (Mus�e du Louvre, Paris), which still retains traces of polychromy. With its swirling cascades of drapery, it is a profound expression of Pilon’s devout Catholicism at a time of religious disturbance in France. The statue has sometimes been seen as deriving its formal qualities from Burgundian sculpture of the 15th century, but in fact its agitated draperies call to mind Italian sculpture in the generation after Michelangelo. The slender, nervous hands recall the style of Primaticcio, and the pyramidal silhouette evokes Michelangelo’s Pietà, a cast of which was brought from Italy by Primaticcio and placed in the chapel of the château of Fontainebleau.
The Virgin of Sorrows, along with Pilon’s deeply moving marble statue of St Francis in Ecstasy (1580; Paris, St Jean-St Francois), was a key work in the art of the Counter-Reformation in France, and both anticipate the emotion and studied affectation of Baroque art.
This statue has been intended for the new Valois Chapel (destroyed) at Saint-Denis. As was usual with Pilon, before working the marble of the Virgin he produced a terracotta maquette (Mus�e du Louvre, Paris), which still retains traces of polychromy. With its swirling cascades of drapery, it is a profound expression of Pilon’s devout Catholicism at a time of religious disturbance in France. The statue has sometimes been seen as deriving its formal qualities from Burgundian sculpture of the 15th century, but in fact its agitated draperies call to mind Italian sculpture in the generation after Michelangelo. The slender, nervous hands recall the style of Primaticcio, and the pyramidal silhouette evokes Michelangelo’s Pietà, a cast of which was brought from Italy by Primaticcio and placed in the chapel of the château of Fontainebleau.
The Virgin of Sorrows, along with Pilon’s deeply moving marble statue of St Francis in Ecstasy (1580; Paris, St Jean-St Francois), was a key work in the art of the Counter-Reformation in France, and both anticipate the emotion and studied affectation of Baroque art.
