Giulio Romano

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Romano, Giulio:

see Giulio RomanoGiulio Romano
, c.1492–1546, Italian painter, architect, and decorator, whose real name was Giulio Pippi. He was the favorite pupil of Raphael and while still a youth was entrusted with the painting of most of the frescoes in the loggias (from designs by Raphael) and a
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Giulio Romano

(jo͞o`lyō rōmä`nō), c.1492–1546, Italian painter, architect, and decorator, whose real name was Giulio Pippi. He was the favorite pupil of Raphael and while still a youth was entrusted with the painting of most of the frescoes in the loggias (from designs by Raphael) and a group of figures in the Stanza of the Incendio di Borgo in the Vatican and also, together with Gianfrancesco Penni, with the decoration of the ceiling of the Villa Farnesina, all in Rome. After the death of Raphael, he completed the frescoes of the life of Constantine in the Vatican as well as Raphael's Coronation of the Virgin and Transfiguration (both: Vatican Gall.). Forced to flee Rome in 1524 for having designed pornographic prints, he entered the service of the duke of Mantua, for whom he executed paintings and architectural and engineering projects. He reconstructed the cathedral, established a school of art, and designed the nearby Church of San Benedetto. He was the architect of the ducal palace and rebuilt the Palazzo del Te, decorating both of them with celebrated illusionistic and somewhat melodramatic frescoes. In 1546 he was appointed architect to St. Peter's, but he died in the same year. Well-known oils include The Stoning of St. Stephen (Church of Santo Stefano, Genoa) and Adoration of the Kings (Louvre). Romano was one of the creators of mannerism.

Romano, Giulio


(real name, Giulio Pippi). Born 1492 or 1499, in Rome; died Nov. 1, 1546, in Mantua. Italian architect and painter.

Romano, a pupil of Raphael, worked in Rome from 1515 to 1524. He and his teacher painted the frescoes in the stanzas and loggias of the Vatican and in the Villa Farnesina. After Raphael’s death, Romano completed the frescoes of the Villa Madama (1521). In 1524 he began working at the court of the Gonzaga dukes in Mantua. Romano gradually moved away from the classical principles of Renaissance art. His architecture is characterized by its accentuated plasticity, whimsical contrasts of forms, and well-developed peculiar rustication (for example, the architect’s own house in Mantua, 1544). These elements are often combined with other unconventional external effects which destroy the strict tectonics of traditional orders (for example, the twisted columns of the Tournament Court in the Palazzo Ducale in Mantua, 1538-39). Romano’s principal work, the Palazzo del Te in Mantua (1525-34), is an early example of the suite method and anticipated architecture’s subsequent development.

Romano’s frescoes are notable for their ponderous architectural design, overcrowded composition, and unorthodox poses and foreshortening (for example, the paintings in the Sala dei Giganti in the Palazzo del Te). A cold abstraction of forms characterizes his paintings (for example, Christmas, Louvre, Paris; and Madonna and Child With John the Baptist, Hermitage, Leningrad).


Vseobshchaia istoriia arkhitektury, vol. 5. Moscow, 1967. Pages 254-59.
Loukomski, G. Jules Romain. Paris, 1932.


Giulio Romano

?1499--1546, Italian architect and painter; a founder of mannerism
References in periodicals archive ?
One example of this is found in the discussion of the Fructus Belli, one of the more monumental of the sets of tapestries designed for Ferrante by Giulio Romano.
Lo mas probable es que los artistas, como Rafael, Giulio Romano, Sebastiano Serlio, Tiziano, Velazquez, Rubens, Rembrandt o Van Dyck, asimilaran estas ideas a traves de la lectura de El Cortesano.
Between 1538 and 1542, the Vicentines asked a series of eminent architects for their advice, including Sebastiano Serlio from Bologna, Giulio Romano from Mantua, Jacopo Sansovino from Venice and Michele Sanmichele from Padua, but none could provide the city with an elegant and affordable solution.
Retorica della diffrazione: Bembo, Aretino, Giulio Romano e Tasso.
The book's most provocative chapter, "The Pornographic Ideal," springs from the puzzling allusion to Giulio Romano toward the end of The Winter's Tale.
Chapter 5, "The Pornographic Ideal," explores some of the issues around the only Renaissance artist Shakespeare actually mentions, the supposed sculptor Giulio Romano, creator of the supposed statue of Hermione in The Winter's Tale, and the book ends with "Imagining Shylock," an essay on how Shakespeare and his audience might have viewed this problematic character.
Giulio Romano may be mentioned in The Winter's Tale, and he may have created some obscene woodcuts, but that does not mean that there is a pornographic subtext in Shakespeare's play.
The National Gallery's opinion was that they were 16th century Italian, looking jolly like work by a Giulio Romano (1499 to 1546) who led a well-known school of painters in Mantua.
La temprana disertacion doctoral sobre el Palazzo del Te (erigido en Mantua, de 1526 a 1534), obra del arquitecto y pintor Giulio Romano --la cual contribuyo de manera definitiva a la definicion del manierismo en la arquitectura--, no solo le gano al joven Gombrich un empleo inicial como investigador en el prestigioso Instituto Warburg: lo condujo tambien al primero de sus "descubrimientos" --lo fue en su momento, aunque hoy nos parezca una obviedad--, a partir del cual se origino, como puede reconocerse, La historia del arte, a saber: que el arte como entidad, propiamente, no existe.
L'esempio raffaellesco produsse una vera e propria scuola e tra gli allievi e d'obbligo ricordarne almeno due: Giulio Romano e Perin del Vaga.
Attributed to Joos van Cleve's son Cornelis, an Antwerp follower of Giulio Romano, is a specially good-humoured Adoration of the Shepherds.