Забытый художник

Четверг, 29 Апреля 2010 г. 00:27 + в цитатник

Цитата сообщения ВЕнеРИН_БАШМАЧОК

Прочитать целиком В свой цитатник или сообщество!

Забытые имена.Французский художник Nicolas de LARGILLIERE.

LARGILLIERE, Nicolas de

French painter (b. 1656, Paris, d. 1746, Paris)

Largilliere was a forerunner of the Rococo style, introducing fresh and brilliant colors into the grave style of late 17th century French painting. This work is thought to be from Largilliere's mature period. The model placed in nature surrounded by flowers and animals was a trend in aristocratic portraits of the day, while the red lips and rosy cheeks of the white-skinned boy and the cape draped from his shoulders speak of the new age of the Rococo with its bright color sensibility. The model is traditionally identified as the young Louis XV.

La Belle Strasbourgeoise.1703г.

Porrtrait of a Lady

Partridge in a Niche

Portrait of a Man in a Purple Robe

Portrait of Jean-Baptiste Rousseau

Elizabeth Throckmorton.1729г.

Anne Throckmorton (1664 - 1734)

Anne Throckmorton (1664 - 1734) was Abbess of the Augustinian Convents of 'Filles Anglaises' in Paris from 1720 to 1728. She was the daughter of Sir Francis Throckmorton, 2nd Baron and sister of the 3rd Baronet. It is one of three kit-cat portraits of nuns who were members of the Throckmorton family which used to hang together as a group in Coughton Court, Alchester. The other two portraits are in America and Australia.

Tutor and Pupil

Portrait de femme en Diane

Portrait of a Young Nobleman

Portrait of Philippe d´Orleans, Duke of Chartres

Portrait of François Pommyer and Yves-Joseph-Charles Pommyer playing with a King Charles spaniel

Bildnis eines jungen Edelmannes

Portrait of Catherine Coustard (1673-1728), Marquise of Castelnau, Wife of Charles-Léonor Aubry (1667-1735) with her Son Léonor (1695-1770

Portrait of Franзoise d’Escravayat, Marquise de la Barriиre

Our painting’s subject, the Marquise de la Barriиre was born Franзoise Corderoy, daughter of Louis Corderoy, Seigneur de Breuil by Jacquette Laurent, and married, in 1722, Jean d’Escravayat, (1690-1741), Ecuyer, Seigneur, styled Marquis de la Barriиre. Largilliere was 84 years old at its creation, though clearly had lost none of his technical ability with age. Similar in style and pose to the earlier Portrait of Angйlique de Simiane, Madame de Gueidan, as Flora, (Museй Granet), Largilliere again here utilizes fully his extrordinary flower painting skills, while also capturing his subject’s character, (Gueidan’s sly gaze or here Barriиre’s deep eyes.) The artist likely here portrays the Marquise in the personality of Honorй d’Urfй’s Flora , an allegory popular at Louis XIV’s court, and later through out the region. The Marquise wears an interpretation of peasant costume, the clear difference being the gold and jewel-encrusted girdle of her bodice. The brilliant cherry red and royal blue of the dress are colors repeated in the highly finished bouquets of flowers held by the picture’s two figures. It is in fact the second figure, the attending cupid that distinguishes the allegorical portrait from a simple rendering of the sitter. Largilliere painted women in allegorical portraits, (his favorites being Flora, Diana, Venus, Iris and Water Nymphs) always with attendants. The young boy, a cupid figure indicated by the strap of his quiver, appears here as in the portrait of Madame de Gueidan, and a similar figure is seen in the artist’s Portrait of a woman as Venus, (private collection,) Portrait of a woman as Pamona, (Dresden,) and Portrait of Marie-Anne de Chateauneuf in the role of Ariadne, (Paris). The dramatic woodland landscape, half enveloped by a smoky fog also differentiates this fantastical portrait from the character portraits with their characteristic elegant interiors.It is the Marquise’s delicate and subtle smile, lovely dark blue eyes and artfully posed hands that set her apart though; not simply pretty, she seems to be enjoying the artist’s playful and somehow intimate (certainly more so than Largiliere’s early female portraits) imagining of her in full dramatic rococo glory.
The unparalleled condition of the painting sets it apart from Largilliere’s extant body of work. The canvas is unlined and on the original 18th century stretcher having been preserved by its excellent provenance. A delicate impasto can be seen in the lace that decorates the dйcolletage and sleeves of figure’s dress here where typically, in the artist’s existing oeuvre, such brush work has been flattened by the picture’s lining. The verso reads, in the artist’s hand, “peint par Largillиre en 1741 а l’вge de 84 ans en huit mois”, a testament to the obvious pride he took in the painting.

Портрет Луизы Лавальер в маскарадном костюме, работа последователя Николя Ларгильера (?)

Portrait of a Lady as Diana

Portrait of Jean-Baptiste Tavernier

Jeanne-Cécile Le Guay de Montgermon

María Ana Victoria de Borbon

Portrait of a Lady

Portrait of Madam Soucarières and her page

Provost and Municipal Magistrates of Paris.1689г.

The Artist and his Family.1710г.

Franзois de Gontaut, Duc de Biron.1714г.

The Sculptor Nicolas Coustou in His Atelier.1710г.

Landscape

Portrait of Charles Le Brun.1683г.

Portrait_of_the_Comtesse_de_Montchal_(1715-1793)

Portrait of a Man in a Purple Robe

Portrait de Voltaire (détail)

Bernhard Siegfried Albinus

This was believed to be a portrait of the anatomist Bernhard Siegfried Albinus. Born in Frankfurt and educated in Paris and Leyden, he was a great anatomist, known in particular for his new injection techniques. He also adopted a method allied with artistry by which he placed two nets divided into squares between the object and the artist in a way similar to the camera obscura in order to achieve the greatest anatomical accuracy. The painting was also believed to be after a work by Nicolas de Largilliиre, a French artist working in London 1686-7.