With the exhibition "Le théâtre de l'Histoire", the Musée national de la Renaissance - Château d'Écouen (Val-d'Oise) puts the work of Antoine Caron back on the stage. More than 90 works by the master glassmaker, illustrator and French mannerist painter from the Fontainebleau school are presented. The entire estate, currently Renaissance Museum, has been classified as a historical monument since July 18, 2007.
From 5 April until 3 July, visitors will be able to discover or find the works of Antoine Caron and his circle (paintings, manuscripts, drawings, engravings, tapestries, etc.). Some were never presented to the public. In particular, the exhibition aims to show the many facets of the genius and influence of this forgotten artist and the versatility of the Renaissance painter’s profession. For this occasion, for the first time in France since the 16th century, the eight tapestries of The Valois Wall Hanging commissioned by Catherine de Médicis.
La Resurrection du fils de la veuve de Naïm Antoine Caron Avant 1599 Oil on wood Private collection © Sotheby’s / Art Digital Studio
A unique experience and exceptional loans
Bringing together more than 90 works at the heart of the Château d'Écouen in contemporary architecture and decoration of Antoine Caron’s creations, the exhibition questions the place of this artist inseparable from the French Renaissance as an inventor, role model provider whose influence continues well beyond his death.
Amphion Follower of Antoine Caron circa 1614, Oil on canvas, Ecouen, musée national de la Renaissance, Ec. 2103 © RMN-Grand Palais (Renaissance Museum, Ecouen Castle) / Sylvie Chan-Liat
The Adoration of the Shepherds Follower of Antoine Caron, Last Decade of the XVIe century, Oil on wood, Ecouen, National Renaissance Museum, Ec. 2059 © RMN-Grand Palais (musée de la Renaissance, château d'Ecouen) / Mathieu Rabeau & Femme masquée Antoine Caron, Feather and brown ink, mainly pink, green and ochre washes, gold and silver highlights with brush; cut according to the silhouette of the figure; college, Paris, Louvre Museum, Department of Graphic Arts, Edmond de Rothschild collection, 1694 DR © RMN-Grand Palais (Louvre Museum) / Thierry Le Mage
The exhibition retraces the artist’s profile in the context of his training around the construction site of the Fontainebleau castle, notably through his deep ties with the Italians Primatice (1503-1570) and Niccolò dell'Abate (1509-1571), but especially on the exchanges between painting, drawing, sculpture and tapestry.
Fragment of a Triumph of Spring Follower of Antoine Caron, End of the XVIe-early 17the centuries, Oil on canvas, Nantes, Museum of Arts, 213 © RMN-Grand Palais (Louvre Museum) / Mathieu Rabeau
In this context, the loan granted by the Florence Uffizi Gallery of the famous Valois wall hanging, woven in Brussels for Catherine de Médicis, who has not seen France in its entirety for more than four centuries. In filigree, these are exciting issues of Renaissance art that are woven: the role of drawing, relations between artist and sponsor, questioning the traditionally established boundaries between major art and minor art, between artist and artisan.
The Valois Wall Hanging
The Valois Wall Hanging was probably commissioned by Catherine de Medici. She then donated it to her granddaughter, Christine de Lorraine, when she married Ferdinand I de Medici. The eight tapestries have not been seen together since their arrival in Florence in 1589. Their presentation, side by side, in a contemporary setting of their creation, is therefore quite exceptional.
Polish Ambassadors' Reception at the Tuileries Antoine Caron (after), Brussels workshops (Willem de Pannemaker?)Late 1570’sWool, silk, gold and gilt silverFlorence, Galleria degli Uffizi, 472© Gabinetto fotografico delle Gallerie degli Uffizi
The compositions are associated with several drawings by Caron made around 1573-1574, under Charles IX. At the time of weaving, under the reign of his successor, Henri III, it is now an imposing gallery of portraits of the royal family and the court that is being honoured before majestic festivities. We know how much Catherine de Medici collected portraits. Here we find its constant opening, beyond the royal line, to the powerful houses of the kingdom. As part of an international competition, it also seeks to compete with the most prestigious dynastic draperies, narrating the achievements of great European figures.
The assault of an elephant-shaped bastion © Palermo Roberto All rights reserved to the Ministry of Heritage and Cultural Activities MiBACT, Ministry of the Government of the Italian Republic
Walking through the gallery allows us to understand the complex genesis of the hangings, probably from the workshops of the Brussels artist Willem de Pannemaker. The strainers had to have a varied documentation, evoked on the lecterns, including the leaves of Caron or copies, engraved portraits, drawn or painted.
The court of France leaving the castle of Anet © Palermo Roberto All rights reserved to the Ministry of Heritage and Cultural Activities MiBACT, Ministry of the Government of the Italian Republic
The weaving took place between 1575, when Henry III ascended the throne, and the end of the 1570s, as confirmed by the costumes. The feasts of Charles IX are transposed under Henry III, in a strategic crossing of temporalities. The great hours of the court of Charles IX are celebrated during the reign of his brother as the embodiment of a true golden age that one seeks to resurrect.
L'Assaut d'une île sur l'étang du château de Fontainebleau © Palermo Roberto All rights reserved to the Ministry of Heritage and Cultural Activities MiBACT, Ministry of the Government of the Italian Republic
In the tormented context of the Wars of Religion, the hanging responds to a dynastic and diplomatic program. While the monarchy is severely weakened, it is a matter of forgetting the family discord in favor of a fantasized image of brilliance and unity, probably carried by the queen mother for her children and her kingdom.
The exhibition is supported by the largest French institutions (Bibliothèque nationale de France, Musée du Louvre, Mobilier national, Musée d'Arts de Nantes, Mucem de Marseille, etc.) and international (Gallerie degli Uffizi in Florence, The J. Paul Getty Museum in Los Angeles, Courtauld Gallery in London, etc.).
Header image: Auguste et la sibylle de Tibur Antoine Caron Vers 1573 Oil on canvas Paris, musée du Louvre, RF 1938-101 © RMN-Grand Palais (musée du Louvre) / Gérard Blot