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Giorgio Giulio Clovio : ウィキペディア英語版
Giulio Clovio

Giorgio Giulio Clovio or Juraj Julije Klović (1498 – January 5, 1578) was an Croatian Italian illuminator, miniaturist, and painter born in the Kingdom of Croatia, who was mostly active in Renaissance Italy.〔John Van Antwerp Fine, When ethnicity did not matter in the Balkans: a study of identity in pre-nationalist Croatia, Dalmatia, and Slavonia in the medieval and early-modern periods, University of Michigan Press, 2006, p 195 (Google Books )〕 He is considered the greatest illuminator of the Italian High Renaissance, and arguably the last very notable artist in the long tradition of the illuminated manuscript, before some modern revivals.
==Biography==
Giulio Clovio was born in Grižane, a village near the town of Modruš in Kingdom of Croatia (today's Croatia).〔The Life and Works of Giorgio Giulio Clovio, Miniaturist: with notices of his contemporaries, and of the art of decoration in the Sixteenth Century - by John William Bradley – 1891〕
He came from a Croatian family.〔Bradley, 2004 (reprint), pp. 368–369〕
It is not known where he had his early training, but he may have studied art with monks at Fiume of Novi Bazar when he was young.〔Ralph N James , Painters and Their Works: A Dictionary of Great Artists who are Not Now Alive - 1896 - p. 201-3〕

He moved to Italy at age 18 and entered the household of Cardinal Marino Grimani where he was trained as a painter. Between 1516 and ca 1523 Clovio may have lived with Marino in the residence of the latter’s uncle Cardinal Domenico Grimani in Rome.〔Elena Calvillo, Romanità and Grazia: Giulio Clovio's Pauline Frontispieces for Marino Grimani, The Art Bulletin, Vol. 82, No. 2 (Jun., 2000), pp. 280-297, (. JSTOR )〕 Clovio studied under Giulio Romano during this early period.〔Julius Schlosser, Two Portrait Miniatures from Castle Ambras, The Burlington Magazine for Connoisseurs, Vol. 41, No. 235 (Oct., 1922), pp. 194-195+197-198, (JSTOR )〕
He also studied under Girolamo dai Libri.
While a protégé of Cardinal Domenico Grimani Clovio engraved medals and seals for him, as well as the Grimani Commentary Ms., an important early illuminated book (now Sir John Soane's Museum, London).
By 1524 Clovio was at Buda, at the Hungarian court of King Louis II, for whom he painted the "Judgment of Paris" and "Lucretia". After Louis' death in the Battle of Mohács, Clovio travelled to Rome where he continued his career.〔Renaissance and Reformation, 1500-1620: A Biographical Dictionary (The Great Cultural Eras of the Western World) by Jo Eldridge Carney (editor) Greenwood Press 2001. Clovio Giulio p. 88-89〕
After 1527 he visited several monasteries of the Canons Regular of St. Augustine. In 1534 Clovio returned to the household of Cardinal Marino Grimani.〔 A year later Clovio may have followed Marino when the latter was appointed as a papal legate to Perugia, where Clovio is thought to have worked on illustrations for the Soane Manuscript written by Marino Grimani around that time. Clovio likely returned to Rome by the end of 1538 when he is known to have met with the writer Francisco de Hollanda.〔
Clovio later became a member of the household of Alessandro Farnese with whom he would be associated until his death. It was during his time with Farnese that Clovio created one of his masterpieces, the Farnese Hours. Other well-known works from this period include the illustrations for the Towneley Lectionary.〔Lilian Armstrong, Review of The Towneley Lectionary Illuminated for Cardinal Alessandro Farnese by Giulio Clovio: The New York Public Library Astor, Lenox and Tilden Foundations Manuscript 91. Described by Jonathan J.G. Alexander. The Burlington Magazine, Vol. 140, No. 1146 (Sep., 1998), p. 626, (JSTOR )〕
From 1551 to 1553 Clovio is known to have worked in Florence. During this time he painted a miniature of Eleanor of Toledo (England, Walbeck Abbey, Private Collection).〔Janet Cox-Rearick and Mary Westerman Bulgarella, Public and Private Portraits of Cosimo de' Medici and Eleonora di Toledo: Bronzino's Paintings of His Ducal Patrons in Ottawa and Turin, Artibus et Historiae, Vol. 25, No. 49 (2004), pp. 101-159, (JSTOR )〕

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