Word: fontainebleau
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...foundation of this airy palace of fiction (Boucher was far too rational, too much a Frenchman of the 18th century, ever to confuse art with reality) was, inevitably, the female nude, for which Boucher discovered a fresh convention. Since the chill goddesses of the Fontainebleau school in the 16th century, the nude in French art had retained some measure of Gothic proportion- elongated torso, small high breasts - and a distinct aura of remoteness. Boucher's nude was small, full and rounded: a compact little machine à plaisir, borne up like a plump rose on tumultuous puffs of cloud...
...usually came down to stereotype, for it worried him not to have things clear-cut. He understood business but not richness, which is why the interiors and garden sequences of the prince's castle in Cinderella came out with the nasty polystyrene glamour (twinkledust and all) of the Fontainebleau lobby in Miami Beach...
...group finally agreed on a more modest bugging of three places. Mitchell supposedly checked off the ones he wanted: Watergate, McGovern head quarters in Washington, Democratic offices at the Fontainebleau Hotel in Miami Beach. Said Ehrlichman: "Magruder described this as a nondecision; that nobody was terribly enthusiastic with the undertaking, but they had to do something to acquire general information about the opposition...
...some of it in 1515, when he was only 21; and the first Italian artist to come under his barely fledged wing was Leonardo da Vinci, who went to France and died in the royal chateau at Amboise in 1519. But when the King turned to the remodeling of Fontainebleau, his chances of getting another such hero of the High Renaissance were gone. Raphael was dead. Michelangelo rebuffed Francis' overtures. That left younger men, notably Rosso, who had been cut adrift by the sack of Rome in 1527 and now, by a quite oneiric fluke of luck, became impresario...
...Florentine, melancholic and arrogant; even the religious paintings he did in Italy are full of a quite un-Renaissance sense of foreboding and psychological tension. In the end, he committed suicide in a fit of depression. But Rosso's designs for the Galerie François Premier at Fontainebleau set the court style: the fantastic stucco cartouches, gilding and strapwork; the airless painted space, filled with large twisting bodies based on Michelangelo's figura serpentinata; the strained and tangled poses; the weird color, by turns opulent and acidly dry; the Biblical and classical allegories, recondite to the point...