Giulio Romano, born Giulio Pippi in Rome around 1499, entered Raphael's studio at a young age. He quickly became one of his closest assistants and participated in large pontifical enterprises: Vatican rooms, Lodges and decorations of the Villa Farnesine. He learned to design a large-scale composition, coordinate a workshop and circulate a drawing between painting, stucco, tapestry and architecture. When Raphael died in 1520, Giulio completed several commissions with Giovanni Francesco Penni and took a major place in the dissemination of Raphaelesque language. In 1520, Giulio completed several commissions with Giovanni Francesco Penni and took a major place in the dissemination of Raphaelesque language. In 1520, Giulio completed several commissions with Giovanni Francesco Penni and took a major place in the diffusion of Raphaelesque language. In 1520, Giulio completed several commissions with Giovanni Francesco Penni and took a major place in the diffusion of Raphaelesque language. In 1520, Giulio completed several commissions with Giovanni Francesco Penni and took a major place in the diffusion of Raphaelesque language. In 1520, Giulio completed the total artist of the court, responsible for palaces, villas, parties, objects and the image of ducal power. Palazzo Te is his manifesto. In the Hall of Giants, walls and ceilings seem to collapse around the visitor; the painted architecture, colossal bodies and deliberately unstable perspectives break with classical balance. This freedom characterizes Giulio's mannerism: amplified anatomy, complex poses, tense space and sometimes ironic details. His paintings of the Holy Family nevertheless retain the gentleness of Raphael: amplified anatomy, complex poses, tense space and sometimes ironic details. His paintings of the Holy Family nevertheless retain the gentleness of Raphael: amplified anatomy, complex poses, tense space and sometimes ironic details. His paintings of the Holy Family nevertheless retain the gentleness of Raphael: amplified anatomy, complex poses, tense space and sometimes ironic details. His paintings of the Holy Family nevertheless retain the gentleness of Raphael: amplified anatomy, complex poses, tense space and sometimes ironic details. His paintings of the Holy Family nevertheless retain the gentleness of Raphael: amplified anatomy, complex poses, tense space and sometimes ironic details. His paintings of the Holy Family nevertheless retain the gentleness of Raphael: amplified anatomy, complex poses, tense space and sometimes ironic details. His paintings of the Holy Family nevertheless retain the gentleness of Raphael: intended for painters, engravers, upholsterers and craftsmen in his vast workshop. Architect, he also remodeled the ducal palace and the city of Mantua. Giulio died in 1546, when he considered a return to Rome. His work transformed Raphael's legacy into a theatrical, adaptable and European language. The "Giulio Romano" selection notably compares The Holy Family and The Holy Family with Saint John the Baptist as a child. His reading favors the story.
Giulio Romano inherits the order of Raphael, then puts it under tension: the figure grows, the space shifts and the setting becomes a total experience.
