Giulio Romano (1499–1546). Italian painter and architect, he was one of the major figures of the late Renaissance. Called Giulio Pippi or Giuliano Giannuzzi, he was born in Rome, became the pupil of Raphael, and trained amidst the High Renaissance reverence for Classical antiquities. He designed the Palazzo Maccarani, Piazza Sant'Eustachio, Rome (c.1520–4), where his originality was demonstrated in the ambiguous capital-less pilasters and the windows that rest uneasily on a string-course.
Giulio was apprenticed to Raphael as a child and had become so important in the workshop that by Raphael’s death, in 1520, he was named with G. Penni as one of the master’s chief heirs; he also became his principal artistic executor. After Raphael’s death, Giulio completed a number of his master’s unfinished works, including the Transfiguration. In his original work from these years, such as the Madonna and Saints
In 1524 Giulio left Rome for Mantua, where he remained until his death, completely dominating the artistic affairs of that duchy. The most important of all his works is the Palazzo del Te, on the outskirts of Mantua, begun in 1525 or 1526 and built and decorated entirely by him and his pupils. This palace is almost a parody of the serene classicism of Donato Bramante while retaining the forms of Roman antiquity. The building consists of a square block around a central court with a garden opening off at right angles to the main axis—in itself characteristic of the way in which all the elements are slightly different from what would be expected. The design is particularly famous for its capricious misuse of ancient Greek and Roman ornamental motifs.
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The principal rooms of the Palazzo del Te are the Sala di Psiche, with erotic frescoes of the loves of the gods; the Sala dei Cavalli, with life-size portraits of some of the Gonzaga horses; and the fantastic Sala dei Giganti. This showpiece of trompe l’oeil (illusionistic) decoration is painted from floor to ceiling with a continuous scene of the giants attempting to storm Olympus and being repulsed by the gods. On the ceiling, Jupiter hurls his thunderbolts, and the spectator is made to feel that he, like the giants, is crushed by the mountains that topple onto him, writhing in the burning wreckage. Even the fireplace was incorporated into the decoration, and the flames had a part to play. This room was completed by 1534, with much help from Rinaldo Mantovano, Giulio’s principal assistant. The color is very crude; the subject is suited to facile virtuosity and tends to bring out the streak of cruelty and obscenity that runs just below the surface in much of Giulio’s painting.
In Mantua itself, he did a great deal of work in the huge Reggia dei Gonzaga. The decorations of the Sala di Troia are particularly noteworthy in that they look forward to the illusionistic ceiling decorations of the Baroque; this style was probably inspired by the presence in Mantua of the Camera Degli Sposi by Andrea Mantegna. Giulio also built for himself a Mannerist version of the House of Raphael (1544–46) and began the rebuilding of the cathedral (1545 onward).
Giulio was apprenticed to Raphael as a child and had become so important in the workshop that by Raphael’s death, in 1520, he was named with G. Penni as one of the master’s chief heirs; he also became his principal artistic executor. After Raphael’s death, Giulio completed a number of his master’s unfinished works, including the Transfiguration. In his original work from these years, such as the Madonna and Saints
In 1524 Giulio left Rome for Mantua, where he remained until his death, completely dominating the artistic affairs of that duchy. The most important of all his works is the Palazzo del Te, on the outskirts of Mantua, begun in 1525 or 1526 and built and decorated entirely by him and his pupils. This palace is almost a parody of the serene classicism of Donato Bramante while retaining the forms of Roman antiquity. The building consists of a square block around a central court with a garden opening off at right angles to the main axis—in itself characteristic of the way in which all the elements are slightly different from what would be expected. The design is particularly famous for its capricious misuse of ancient Greek and Roman ornamental motifs.
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The principal rooms of the Palazzo del Te are the Sala di Psiche, with erotic frescoes of the loves of the gods; the Sala dei Cavalli, with life-size portraits of some of the Gonzaga horses; and the fantastic Sala dei Giganti. This showpiece of trompe l’oeil (illusionistic) decoration is painted from floor to ceiling with a continuous scene of the giants attempting to storm Olympus and being repulsed by the gods. On the ceiling, Jupiter hurls his thunderbolts, and the spectator is made to feel that he, like the giants, is crushed by the mountains that topple onto him, writhing in the burning wreckage. Even the fireplace was incorporated into the decoration, and the flames had a part to play. This room was completed by 1534, with much help from Rinaldo Mantovano, Giulio’s principal assistant. The color is very crude; the subject is suited to facile virtuosity and tends to bring out the streak of cruelty and obscenity that runs just below the surface in much of Giulio’s painting.
In Mantua itself, he did a great deal of work in the huge Reggia dei Gonzaga. The decorations of the Sala di Troia are particularly noteworthy in that they look forward to the illusionistic ceiling decorations of the Baroque; this style was probably inspired by the presence in Mantua of the Camera Degli Sposi by Andrea Mantegna. Giulio also built for himself a Mannerist version of the House of Raphael (1544–46) and began the rebuilding of the cathedral (1545 onward).
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| 1536, Tiziano Vecellio Ritratto di Giulio Romano, Mantova |
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| 1505-25, Coronation of the Virgin (Madonna of Monteluce) |
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| 1516, The Holy Family with the Infant Saint John the Baptist |
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| 1517-19, The Virgin and Child |
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| 1518, Portrait of Doña Isabel de Requesens |
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| 1518, St. John the Baptist in the Wilderness |
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| 1518, Study for the Holy Family |
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| 1519-20, Head of a Hermaphrodite |
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| 1520, Donna Alla Toletta |
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| 1520, La Circoncision |
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| 1522-24, The Madonna and Child with St. John the Baptist |
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| 1523, Madonna & Child |
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| 1523, Virgin and Child with the Infant St John |
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| 1523-25, Polyphemus |
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| 1524, Design for an Ornamental Saltcellar |
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| 1525, The Lovers |
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| 1526, The Old Woman and Vulcan, Tribute to Apollo |
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| 1526-28, Psyche Appealing in Vain to Juno |
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| 1526-28, Venus and Mars Bathing |
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| 1527-46, Design for a Casket with the Gonzaga Eagle |
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| 1530, The Birth of Diana and Apollo |
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| 1531, Portrait of a Woman |
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| 1531-34, Allegory of the Virtues of Federico II Gonzaga |
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| 1532-34, Ceiling of the room of the giants, Palazzo te Mantua, Italy |
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| 1532-34, Victory, Janus, Chronos, and Gaea |
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| 1533, The Birth of Bacchus |
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| 1534, The Infant Jupiter guarded by the Corybantes on the Island of Crete |
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| 1635, Adoration of the Shepherds |
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| Apollo Seated in a Chariot Crowning a Supplicant |
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| Decorazioni di Palazzo Te - Giulio Romano Amore Psiche |
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| L'Enlèvement d'Europe |
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| The fall of the Giants, fresco in Sala dei Giganti |
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| The Triumph of Scipio Africanus |
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