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Philippe de Champaigne
Moses with th Ten Commandments
mk60
Oil on canvas
36x28"
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Philippe de Champaigne
Louis XIII of France
mk61
1665
Oil on canvas
108x86cm
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Philippe de Champaigne
The Annunciation
c. 1645
Oil on canvas, 334 x 214 cm
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Philippe de Champaigne
Portrait of a Man
1650
Oil on canvas, 91 x 72 cm
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Philippe de Champaigne
Mother Catherine Agnes and Sister Catherine Sainte-Suzanne
mk68
Oil on canvas
5' 1/2x7'4"
Paris,Louvre
1662
France
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Philippe de Champaigne
Ex Voro
mk86
1662
Oil on canvas
165x229cm
Paris,Musee National du Louvre
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Philippe de Champaigne
Cardinal Richelieu
mk156
1650
Oil on canvas
222x155cm
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Philippe de Champaigne
Ex-Voto
mk156
1662
Oil on canvas
165x229cm
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Philippe de Champaigne
Cardinal Richelieu
mk170
circa 1637
Oil on canvas
259.7x177.8cm
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Philippe de Champaigne
The Presentation of the Temple
1648
Oil on canvas,
257 x 197 cm
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Philippe de Champaigne
The Nativity
nn09
1643
OIl on canvas
207x116cm
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Philippe de Champaigne
A portrait of a man
mk255 for in 1650. Canvas 0.91 x 0.72 meters high. Paris, the Louvre
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Philippe de Champaigne
little girl with falcon
1628
paris, louvre
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Philippe de Champaigne
Ecce Homo
Description Ecce Homo
Date XVIIe siecle
Source/Photographer Huile sur toile
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Philippe de Champaigne
eccehomo
Description Ecce Homo
Date XVIIe siecle
Source/Photographer Huile sur toile
Permission
(Reusing this file) See below.
cyf
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Philippe de Champaigne
Still-Life with a Skull
Still-Life with a Skull (Oil on panel, 28 x 37 cm)
cjr
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Philippe de Champaigne
Saint Augustin
1645-1650
Oil on canvas
78.7 x 62.2 cm
cjr
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Philippe de Champaigne
Saint Augustin
1645-1650
Oil on canvas
78.7 x 62.2 cm
cjr
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Philippe de Champaigne
Still Life with a Skull
Still-Life with a Skull (Oil on panel, 28 x 37 cm)
cyf
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Philippe de Champaigne
Saint Augustin
Date 1645-1650
Medium Oil on canvas
Dimensions 78.7 x 62.2 cm
cyf
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| Philippe de Champaigne
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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.
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