![]() ![]() Both Langres and Dijon were strongly Catholic centres during the period before the Wars of Religion, and Duvet is recorded in Langres as member of a militant Catholic lay fraternity founded in 1548. The (earlier) Geneva Duvet is rather better documented, working for the city authorities in a number of capacities, and holding official office. ![]() Yet another Jean Duvet, working as a goldsmith in Geneva, was condemned to death for extortion in Geneva in 1576. Eisler and Blunt favour the Geneva figure being Duvet himself, followed by Marqusee Zerner and R. The Geneva Duvet was recorded as the son of "Loys Duvey, alias Drot de Dijon", probably Jean Duvet's brother, who became a Master in 1509. The question perhaps cannot be regarded as entirely settled. 1548Ī Jean Duvet from Dijon is also recorded working as a goldsmith in Calvinist Geneva from 1540–56, but most scholarly opinion now believes that this was someone else, probably his nephew. He was certainly dead by 1570, but some authorities think he was alive until about then - 1570 is the death date given by the Getty Union Artist Names List for example. His last dated print is the Frontispiece of 1555. He died, probably in Langres, after 1562, when he is recorded as attending a town meeting there, though Zerner gives his death date as 1561 and Marqusee says that there is no specific documentation of Duvet after the last Geneva mention in 1556. ![]() No identified examples of his goldsmithing survive, though commissions for Francis I and others are documented. The influence of pageant tableaus and scenery has been detected in his prints. By the next royal visit, in 1533, he was in charge of the festivities and decoration. The first of these appointments was on the occasion of the King's visit to Langres, where he was already living, in 1521 he had been involved in the decorations for the Royal Entry. Although he remained in the provinces, he was appointed goldsmith to both Francis I and Henry II. A misunderstanding of the nature of a pilaster in this print, which shows a putto wrapped round one as though it were a thin sheet, unattached to the wall behind, perhaps suggests that his understanding of the Italian style was derived purely from prints, books and other objects brought back to France. His first dated print is The Annunciation from 1520, although others are probably earlier. He became a master of the Dijon Goldsmiths' guild in 1509, and may have travelled to Italy in about 1519 this is purely an inference from his prints, which show considerable Italian influence. He was born to a Dijon goldsmith in 1485, presumably in Dijon itself, which until a decade before had been part of the independent state of the Duchy of Burgundy. ![]()
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