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By Edward Lucie-Smith

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This the is is very a en- to look towards the medieval format. In addition to who was an adaptation from Diirer, source of ideas for Bellange just and like the same tendency a characteristically the Virgin Annunciate as a painter, as a he was for Pontormo and the young Rosso. Claude Deruet a 42 much greater ing, Fire, gives (1 Deruet must, in from 588-1660) was a less interesting artist number of paintings behind him. A some idea of his style. his later years, have felt who has left decorative paint- himself to be a survivor During the first half of the seventeenth century, French painting was to make another radical change in its assumptions.

The alternative to Caravaggio was offered by the Bolognese painter Annibale Carracci (1 560-1609), who was summoned to Rome in 1595 to paint frescoes in the Palazzo Farnese. If Caravaggio was a device, a 5i 43 realist, classicist. But it is imfrom the new manner which the excesses of Mannerism. Direct- Carracci has usually been defined as a possible to exclude the notion of realism Carracci evolved in revolt against ness ity was among Carracci's aims, but a for concepts which were more balanced personal- to be very important to European painting, which can serve as a setting for The Flight into Egypt, painted for the Chapel of the Palazzo Aldobrandini between 1600 and 1604, shows that this type of painting was already fully developed in his hands.

He came from Laon, but his work is unmistakably Italian in feeling; his Virgin of Mercy is close to Piero della Francesca's version of the same subject in Borgo San Sepolcro. Charonton also felt the influence of his adopted region. The Coronation of the Virgin is bathed in clear, hard, Provencal light, and has for its background a lovingly painted landscape in which Cezanne's Virgin of Mercy, c. 12 1466) and Pierre Villatte, Montagne Sainte-Victoire clearly visible. is Charonton's collaborator, Pierre Villatte, is otherwise unknown as an artist, but he has sometimes been suggested as the possible author of a painting which is perhaps the greatest masterpiece produced in France during the fifteenth century: the Pieta of Villeneuve-lesAvignon.

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