Jean Fouquet in the context of "Charles VII of France"

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⭐ Core Definition: Jean Fouquet

Jean (or Jehan) Fouquet (French: [fuke]; c. 1420 – 1481) was a French painter and miniaturist. A master of panel painting and manuscript illumination, and the apparent inventor of the portrait miniature, he is considered one of the most important painters from the period between the late Gothic and early Renaissance. He was the first French artist to travel to Italy and experience first-hand the early Italian Renaissance.

Little is known of Fouquet's early life and education. Though long assumed to have been an apprentice of the so-called Bedford Master of Paris it is now suggested that he may have studied under the Jouvenal Master in Nantes, whose works were formerly assumed to be early works by Fouquet. Sometime between 1445 and 1447 he travelled to Italy, where he came under the influence of Roman Quattrocento artists such as Fra Angelico and Filarete. During the 1450s he began working at the French court, where he counted kings Charles VII and his successor Louis XI among his many patrons.

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Jean Fouquet in the context of Battle of Dorylaeum (1147)

The second Battle of Dorylaeum took place near Dorylaeum in October 1147, during the Second Crusade. It was not a single clash but consisted of a series of encounters over a number of days. The German crusader forces of Conrad III were defeated by the Seljuk Turks led by Sultan Mesud I.

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Jean Fouquet in the context of Golden Legend

The Golden Legend (Latin: Legenda aurea or Legenda sanctorum) is a collection of 153 hagiographies by Jacobus de Voragine that was widely read in Europe during the Late Middle Ages. More than a thousand manuscripts of the text have survived. It was probably compiled around 1259 to 1266, although the text was added to over the centuries.

Initially entitled Legenda sanctorum (Readings of the Saints), it gained its popularity under the title by which it is best known. It overtook and eclipsed earlier compilations of abridged legendaria, the Abbreviatio in gestis et miraculis sanctorum attributed to the Dominican chronicler Jean de Mailly and the Epilogus in gestis sanctorum of the Dominican preacher Bartholomew of Trent. When printing was invented in the 1450s, editions appeared quickly, not only in Latin, but also in almost every major European language. Among incunabula, printed before 1501, Legenda aurea was printed in more editions than the Bible and was one of the most widely published books of the Middle Ages. During the height of its popularity the book was so well known that the term "Golden Legend" was sometimes used generally to refer to any collection of stories about the saints. It was one of the first books William Caxton printed in the English language; Caxton's version appeared in 1483 and his translation was reprinted, reaching a ninth edition in 1527.

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Jean Fouquet in the context of Jean Bourdichon

Jean Bourdichon (1457 or 1459 – 1521) was a French painter and manuscript illuminator at the court of France between the end of the 15th century and the start of the 16th century, in the reigns of Louis XI of France, Charles VIII of France, Louis XII of France, and Francis I of France. He was probably born in Tours, and was a pupil of Jean Fouquet. He died in Tours.

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Jean Fouquet in the context of The Three Marys

The Three Marys (also spelled Maries) are women mentioned in the canonical gospels' narratives of the crucifixion and resurrection of Jesus.

The Gospels refer to several women named Mary. At various points of Christian history, some of these women have been identified with one another.

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Jean Fouquet in the context of Lit de justice

In France under the Ancien Régime, the lit de justice (French pronunciation: [li ʒystis], "bed of justice") was a particular formal session of the Parlement of Paris, under the presidency of the King of France, for the compulsory registration of the royal edicts and to impose his sovereignty. It was named thus because the king would sit on a throne, under a baldachin. In the Middle Ages, not every appearance of the King of France in parlement occasioned a formal lit de justice.

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Jean Fouquet in the context of Constable of France

The Constable of France (French: Connétable de France, from Latin comes stabuli for 'count of the stables') was lieutenant to the King of France, the first of the original five Great Officers of the Crown (along with seneschal, chamberlain, butler, and chancellor) and the commander-in-chief of the Royal Army. He was, at least on paper, the highest-ranking member of the French nobility.

The Connétable de France was also responsible for military justice and served to regulate the Chivalry. His jurisdiction was called the Constabulary (connestablie; or in modern French orthography which sticks closer to the correct pronunciation: connétablie).

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Jean Fouquet in the context of Medieval theatre

Medieval theatre encompasses theatre in the period between the fall of the Western Roman Empire in the 5th century and the beginning of the Renaissance in approximately the 15th century. The category of "medieval theatre" is vast, covering dramatic performance in Europe over a thousand-year period. A broad spectrum of genres needs to be considered, including mystery plays, morality plays, farces and masques. The themes were almost always religious. The most famous examples are the English cycle dramas, the York Mystery Plays, the Chester Mystery Plays, the Wakefield Mystery Plays, and the N-Town Plays, as well as the morality play known as Everyman. One of the first surviving secular plays in English is The Interlude of the Student and the Girl (c. 1300).

Due to a lack of surviving records and texts, low literacy in the general population, and the opposition of the clergy, there are few surviving sources from the Early and High Medieval periods. However, by the late period, performances began to become more secularized; larger number of records survive.

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Jean Fouquet in the context of Grim Reaper

The Grim Reaper is a popular personification of death in Western culture in the form of a hooded skeletal figure wearing a black robe and carrying a scythe. Since the 14th century, European art connected each of these various physical features to death, though the name "Grim Reaper" and the artistic popularity of all the features combined emerged as late as the 19th century. Sometimes, particularly when winged, the character is equated with the Angel of Death. The scythe as an artistic symbol of death has deliberate agricultural associations since the medieval period. The tool symbolizes the removal of human souls from their bodies in huge numbers, with the analogy being to a farmer (reaper) cutting through large swaths of grain crops during harvest.

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