Jean Fouquet was born at Tours and is known to have been in Rome between 1443 and 1447, when he painted a portrait, now lost, of Pope Eugenius IV. Its novel conception, with the Pope shown in three-quarter view, his gaze directed at the spectator, and the modelling reminiscent of a bas-relief, made a lasting impression on contemporaries, and the portrait caused a sensation in Italy.
It inspired a genre of papal portraiture to which many prominent Italian artists, including Raphael and Titian, contributed in the century that followed.
It is mentioned by Antonio Filarete and Giorgio Vasari.
It inspired a genre of papal portraiture to which many prominent Italian artists, including Raphael and Titian, contributed in the century that followed.
It is mentioned by Antonio Filarete and Giorgio Vasari.
Jean Fouquet
1442
Portrait of Gonella, the jester of Niccolo III d’Este
Kunsthistorisches Museum, Vienna
Despite certain Netherlandish features, such as the minute analysis of the details of the face, its French character is seen in the rendering of the flesh, physiognomic details and the use of colour; infra-red analysis has also revealed that there are colour notations written in French (e.g. blanc on the left sleeve).
The painter evidently made a quick sketch of the model and only subsequently applied colour.
The painter evidently made a quick sketch of the model and only subsequently applied colour.
Jean Fouquet
1447
Portrait of Charles VII of France
Musée du Louvre, Paris
Painted immediately after Fouquet's return from Italy.
The King is depicted half-length, in three-quarter view, and looks out from a niche through parted, light green curtains. He is identified by the inscription on the frame, which describes him as the Tres Victorieux Roy de France.
The King is depicted half-length, in three-quarter view, and looks out from a niche through parted, light green curtains. He is identified by the inscription on the frame, which describes him as the Tres Victorieux Roy de France.
Jean Fouquet
c. 1450
Virgin and Child surrounded by Angels (Right panel of the Melun Diptych)
VirginKoninklijk Museum voor Schone Kunsten, Antwerp
This is the right wing of a diptych, originally located in Melun. The left wing shows Étienne Chevalier and St Stephen.
A slender female figure stands, with one breast bare. She has the bulging shaved forehead fashionable at the period.
There is a tradition that Agnés Sorel, Charles VII’s mistress and confidante, was the model for the Virgin.
A slender female figure stands, with one breast bare. She has the bulging shaved forehead fashionable at the period.
There is a tradition that Agnés Sorel, Charles VII’s mistress and confidante, was the model for the Virgin.
Jean Fouquet
c. 1450
Étienne Chevalier and St Stephen (Left panel of the Melun Diptych)
Staatliche Museen, Berlin
The Melun Diptych was commissioned for the tomb of Etienne Chevalier, treasurer to king Charles VII of France.
Étienne Chevalier, in a red gown, painted in three-quarters profile, is seen praying with his patron saint, St Stephen, beside him.
In his left hand the saint holds a book supporting a piece of rock - a reference to his martyrdom.
Étienne Chevalier, in a red gown, painted in three-quarters profile, is seen praying with his patron saint, St Stephen, beside him.
In his left hand the saint holds a book supporting a piece of rock - a reference to his martyrdom.
Jean Fouquet
c. 1460
Madonna Lactans from the Book of Hours of Étienne de Chevalier
Musée Condé, Chantilly
The colours, the elaborately gilded architecture and the monumental handling of space give the illumination a grandeur and solemnity of its own.