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Philippe de Champaigne 1602-1674
Philippe de Champaigne Locations
His artistic style was varied: far from being limited to the realism traditionally associated with Flemish painters, it developed from late Mannerism to the powerful lyricism of the Baroque. It was influenced as much by Rubens as by Vouet, culminating in an aesthetic vision of the world and of humanity that was based on an analytic view of appearances and on psychological truth. He was perhaps the greatest portrait painter of 17th-century France. At the same time he was one of the principal instigators of the Classical tendency and a founder-member of the Acadmie Royale de Peinture et de Sculpture. His growing commitment to the Jansenist religious movement (see JANSENISM) and the severe plainness of the works that it inspired has led to his being sometimes considered to typify Jansenist thinking, with its iconoclastic impulse, in spite of the opposing evidence of his other paintings. He should be seen as an example of the successful integration of foreign elements into French culture and as the representative of the most intellectual current of French painting.
Philippe de Champaigne The Ex-Voto of 1662 1662
Musee du Louvre, Paris
Painting ID:: 375
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Philippe de Champaigne The Miracles of the Penitant St.Mary 1656
Musee du Louvre, Paris
Painting ID:: 376
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Philippe de Champaigne The Aldermen of the City of Paris 1648
Musee du Louvre, Paris
Painting ID:: 377
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Philippe de Champaigne Portrait of a Man _5 1650
Musee du Louvre, Paris
Painting ID:: 378
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Philippe de Champaigne Portrait of Robert Arnauld d'Andilly Musee du Louvre, Paris
Painting ID:: 379
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Philippe de Champaigne The Dead Christ Musee du Louvre, Paris
Painting ID:: 380
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Philippe de Champaigne Cardinal Richelieu Musee du Louvre, Paris
Painting ID:: 381
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Philippe de Champaigne The Last Supper 2 Musee du Louvre, Paris
Painting ID:: 382
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Philippe de Champaigne Triple Portrait of Richelieu The National Gallery, London
Painting ID:: 383
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Philippe de Champaigne Moses with the Ten Commandments The Hermitage, St.Petersburg
Painting ID:: 384
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Philippe de Champaigne The Nativity 1643
Musee des Beaux Arts, Lille
Painting ID:: 385
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Philippe de Champaigne Jean Baptiste Colbert Metropolitan Museum of Art, New York
Painting ID:: 5997
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Philippe de Champaigne The Marriage of the Virgin c. 1644
Oil on panel, 71,5 x 143,5 cm
Wallace Collection, London
Painting ID:: 20620
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Philippe de Champaigne Portrait of a Man (mk05) Canvas 36 x 28 1/4''(91 x 72 cm)Acquired in 1806
Painting ID:: 20621
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Philippe de Champaigne The Dead Christ (mk05) Wood 27 x 77 1/2''(68 x 197 cm)Painted for the Abbey of Port-Royal des Champs Transferred to Port-Royal in Paris in 1710;seized in the Revolution INV
Painting ID:: 20623
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Philippe de Champaigne The Miracles of the Penitent St Mary (mk05) Canvas 86 1/4 x 132 1/4''(219 x 336 cm)Painted in 1656 for the apartment of Anne of Austria in the Val-de-Grace Paris Seized in the Revolution INV
Painting ID:: 20624
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Philippe de Champaigne Portrait of Robert Arnauld d'Andilly (mk05) Canvas 31 x 25 1/2(79 x 65 cm)Given in 1979
Painting ID:: 20625
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Philippe de Champaigne Cardinal Richelieu (mk05) Canvas,87 1/2 x 100 1/2''(222 x 255 cm)Collection of the Duc de Penthievre at the Hotel de Toulouse,Paris;seized in the Revolution INV
Painting ID:: 20951
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Philippe de Champaigne La Petite Cene (The Last Supper) (san 05) Canvas 31 1/2 x 58 1/2''(80 x 149 cm)Collection of Louis XVI;acquired by the Louvre in 1777 INV 1125 (MN)
Painting ID:: 21585
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Philippe de Champaigne Ex Voto (mk08) 1662
Oil on canvas,
165x229cm
Paris,Musee National du Louvre
1602-1674
Philippe de Champaigne Locations
His artistic style was varied: far from being limited to the realism traditionally associated with Flemish painters, it developed from late Mannerism to the powerful lyricism of the Baroque. It was influenced as much by Rubens as by Vouet, culminating in an aesthetic vision of the world and of humanity that was based on an analytic view of appearances and on psychological truth. He was perhaps the greatest portrait painter of 17th-century France. At the same time he was one of the principal instigators of the Classical tendency and a founder-member of the Acadmie Royale de Peinture et de Sculpture. His growing commitment to the Jansenist religious movement (see JANSENISM) and the severe plainness of the works that it inspired has led to his being sometimes considered to typify Jansenist thinking, with its iconoclastic impulse, in spite of the opposing evidence of his other paintings. He should be seen as an example of the successful integration of foreign elements into French culture and as the representative of the most intellectual current of French painting.
