attivo a Parigi 1542 - 1560
Pierre Milan is considered the most important printmaker in France in the mid-sixteenth century. His engravings, primarily after Rosso Fiorentino, were published in large quantities. Until the 1940s much of his work were atttributed to Reneè Boyvin , who was likely Milan`s assistant for several years, before opening his own studio. His engravings after Rosso`s decoration at Fontainebleau certailnly predate 1540, when he was already known as `graveur du roi`. By 1542 Milan was active in Paris. The last known mention of Milan is found in the 1557.
Valenciennes 1717 - Parigi 1776
After studying with Guillaume Coustou in Paris, in 1738 Saly won the first prize for sculpture and at the end of 1740 went to the French Academy in Rome where he worked with Louis-Joseph Le Lorrain. He got to now Piranesi just arrived from Venice whose passion for Roman antiquities he admired. His Vases, produced in 1746 and dedicated to the De Troy, director of French Academy, show the strong influence of Piranesi. On his return to France in 1751 he was admitted to Académie Royale. He worked as a sculptor, received some important commissions and in 1753 left for Copenhagen to work there for the Royal Family. When he comes back to France was given to him a studio at the Louvre. However Saly interpreted the art of the times in a very personal mannner merging the vision of classical art of this contemporaries with the renaissance tradition of the “grotesque” in wich vegetables, animals and marine deities blend eleganty and harmoniously. These prints are the most fantastic and inventive etching of the time in the tradition wich began in the 16th century with Enea Vico, Saly, passing throu the Fontainebleau’s School reached the Neoclassicism.