Jacques Sarrazin

Jacques Sarrazin , 1588-1660, French sculptor and painter, a founder (1648) and rector (1654) of the Académie royale. He spent years (1610-c.1627) in Rome and was one of the first to carry the classicizing trend to France. Examples of his work are the caryatids for Lemercier's Pavillon de l'Horloge at the Louvre and the tomb of Henri II, prince de Condé (Chantilly). He was an influential sculpture teacher.

Sarrazin, Jacques (or Jacques Sarazin) (bapt. Noyon, 8 June 1592; d Paris, 3 Dec. 1660). The leading French sculptor of the mid-17th century. He was in Rome from about 1610 to 1628, during which time he formed his style on the example of the antique and classicizing artists such as Domenichino and Duquesnoy. On his return to Paris he established himself as head of his profession, and his workshop became the main training ground for sculptors of the following generation. Much of his best work was done as architectural decoration, the finest example being his caryatids on the Pavillon de l'Horloge at the Louvre (1639–42). He also supervised the decoration (1652–60) of the Château de Maisons, the masterpiece of François Mansart, the greatest French architect of the 17th century. Although it does not rank on the same elevated level, Sarrazin's dignified work forms a kind of sculptural parallel to the architecture of Mansart or the paintings of Poussin.

Sarrazin (or Sarazin, Jacques) (1592–1660). The leading French sculptor of the mid-17th century. He was in Rome from about 1610 to 1628, during which time he formed his style on the example of the antique and classicizing artists such as Domenichino and Duquesnoy. On his return to Paris he established himself as head of his profession, and his workshop became the main training ground for sculptors of the following generation. Much of his best work was done as architectural decoration, the finest example being his caryatids on the Pavillon de l'Horloge at the Louvre (1639–42). He also supervised the decoration (1652–60) of the Château de Maisons, the masterpiece of François Mansart, the greatest French architect of the 17th century. Although it does not rank on the same level, Sarrazin's dignified work forms a kind of sculptural parallel to the architecture of Mansart or the paintings of Poussin.