Jean Goujon


Also found in: Wikipedia.

Goujon, Jean

 

Born circa 1510; died between 1564 and 1568. probably in Bologna. French Renaissance sculptor.

In 1540 and 1541, Goujon worked in Rouen, and circa 1543 or 1544 he moved to Paris and worked with P. Lescot. Goujon’s reliefs for the church of St. Germain I’Auxerrois (1544) and Fountain of the Innocents in Paris (1547–49), all in the Louvre in Paris, are distinguished by their secular, Renaissance world view, their subtle poetic spirituality, the grace of their soft chiaroscuro modeling, the refinement of their elongated proportions, and their complex linear rhythms (derived in part from Mannerism). Goujon worked on the sculptural design of the Lignières Hotel (now Carnavalet; c. 1545) and the Louvre (the eastern court facade, late 1540’s and 1550’s), built by Lescot. For the Caryatid Tribune in the Louvre, he sculpted the female figures (marble. 1550) supporting the rostrum. In his capacity as a graphic artist, Goujon illustrated Vitruvius’ treatise (woodcut, 1547).

REFERENCE

Du Colombier, P. Jean Goujon. Paris, 1949.

IU. K. ZOLOTOV

References in classic literature ?
Mordaunt followed the carriage, and when he had watched it drive beneath the sombre arches he went and stationed himself under a wall over which the shadow was extended, and remained motionless, amidst the moldings of Jean Goujon, like a bas-relievo, representing an equestrian statue.
Her slender and well-defined outlines reminded an artist of the Venus of the Middle Ages rendered by Jean Goujon, the illustrious sculptor of Diane de Poitiers.
Georges II d'Amboise initially commissioned a marble statue of himself as archbishop from Jean Goujon in 1541.
In one of many telling juxtapositions that illustrate known and less appreciated aspects of Zola's literary personality, Henri Mitterand shows an unemployed nineteen-year-old in ecstatic contemplation of the Jean Goujon nymph motifs on the Fontaine des Innocents, while close by bustle the less than fragrant fishwives of the Halles.
Paris police described his account as "absurd" but we checked timings and it WOULD have been possible for the cars to exit the tunnel, make a U-turn and go under Mr Hunter's third-floor hotel balcony in the nearby Rue Jean Goujon.
Allowing herself more space than usual, she comes up with a number of valuable analogies and insights: how, for example, James's reference to sculptors Jean Goujon and Germain Pilon reveals his American heroine in The Reverberator to be more genuine aristocrat than the snobbish Gallicized family she marries into; how Lord Mellifont, the (usually maligned) character in "The Private Life" modelled on Lord Leighton, is the "real hero of the story" and, further, how Leighton's paintings are subtly reflected in the tale's descriptions; or how Holbein's painting The Ambassadors may have supplied James with the title, and helped reinforce the theme (momento mori and carpe diem), of one of his greatest works.
The large room on its ground floor (at present an antique sculpture room of the Musee du Louvre) contains the famous musicians' balcony supported by four caryatids sculpted in 1550-51 by Jean Goujon after the Erechtheion at Athens.