Important Warrior Head Carved In A Limestone Medallion France Circa 1500/1515

Anonymous sculptor (Italian?), Head of a warrior sculpted in a medallion circa 1500/1515 Carved from a block of freestone, this warrior's head in profile, facing left, appears relatively serene and peaceful. An attitude that contrasts with his extravagant burgundy, strapped under the chin and extended by a dolphin's head, with a visibly bellicose character. A dynamic effect in which the few strands of hair that delicately escape from the helmet and the folds of the drapery of the coat, attached by two staples, also participate. The simplicity and effectiveness of the means employed are found in particular in the great variation of the reliefs put in place by the sculptor: from the very slight notches in the ornaments of his helmet or his tunic to the very large boss of the lower end of the bust, which seems to spring from the medallion which serves as its frame. A direct evocation of antique medallions and numismatics, the so-called “antique” medallion reflects the Renaissance's renewed interest in iconography inherited from Imperial Rome. We thus find this type of portrait among the great artists of the time (Leonardo da Vinci, Michelangelo). Transposed on stone in bas-relief, it gained ornamental architecture first in Italy, then from there, French art from the end of the 15th century through the wars waged by the kings of France in the peninsula. Detached from its decor at an unknown date, its origin from a Thouarsais castle is nevertheless attested. At the beginning of the 16th century, the region between Touraine and Poitou experienced great prosperity under the government of powerful lords close to the King of France and important players in the Italian wars, such as Louis II de la Trémoille, lord of Thouars (1460-1525) . Successive advisor to Charles VIII, Louis XII and François I, he accompanied each of the sovereigns in their military campaigns in Italy; and will even marry Luisa de Borgia, daughter of César Borgia in 1517. His son Charles (1485-1515) will be killed in Marignan and his grandson François (1505-1541) taken prisoner in Pavia with François Ier. Under their influence, the taste for all'antica decoration spread widely in the region and this type of ornament flourished on the exterior facades of the surrounding castles (Château de Bonnivet, in the recess of the upper part of the chapel of Thouars , castle of Oiron for example). Indeed, several artists were part of the escort returning from Italy of these warlords. This is for example attested for Artus I Gouffier de Boissy (1475-1519) who called on Florentine architects for his castle of Oiron located about ten kilometers away. If in the present case it is not possible to attribute the work to a specific sculptor, the fact remains that the latter masterfully demonstrates the lessons he learned from resurgent Italian art. dimensions height 78.5 cm width 64m thickness 16.5cm
provenance: important chateau du Thouarçais