(b Châlons-sur-Marne; d ?Avignon, before 15 Oct 1563). French painter. He settled in Avignon, where documents and a number of works signed Simon de Chalons indicate his presence between 1535 and 1562. His technique and realist style suggest that he was trained in Flanders, and his work also has resemblances, albeit archaic and provincial, to the Italianate style of Frans Floris and his followers in Antwerp. De Mailly's borrowings from the work of Raphael (1483–1520), Albrecht Dürer and Michelangelo (1475–1564), presumably taken from engravings, are juxtaposed rather than combined in such works as the Holy Kinship (1543; Avignon, Mus. Calvet). Further examples of this mixture of Flemish and Italian influences are the Incredulity of St Thomas (1535; Paris, Louvre), the Adoration of the Shepherds (1548; Avignon, Mus. Calvet) and the Road to Calvary (1563; Avignon, Notre-Dame-des-Doms). De Mailly seems also to have painted copies or versions of works by other artists; examples of these are the pendants the Virgin of Mercy and Ecce homo after Andrea Solario (both 1543; Rome, Gal. Borghese; see fig.). His archaic paintings demonstrate the provinciality of artistic life in the 16th century in a once flourishing centre far from Paris and Fontainebleau, the contemporary foci of artistic innovation in France.
From The Grove Encyclopedia of Northern Renaissance Art in Oxford Reference.
Subjects: Renaissance Art.