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Philippe de Champaigne
Saint Augustin
Date 1645-1650
Medium Oil on canvas
Dimensions 78.7 x 62.2 cm
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Philippe de Champaigne
Portrait of Jacques Lemercier (1585-1654), Lemercier's Sorbonne in the background.
17th century
Oil on canvas
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Philippe de Champaigne
Triple Portrait of Cardinal de Richelieu
Date probably 1642(1642)
Medium Oil on canvas
Dimensions 58.7 ?? 72.8 cm (23.1 ?? 28.7 in)[1]
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Philippe de Champaigne
Jean-Antoine de Mesmes, president of Paris'Parliament.
1653(1653)
Oil on canvas
Width: 1.62 m (1.8 yd). Height: 2.23 m (2.4 yd).
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Philippe de Champaigne
Les enfants Habert de Montmor
1649(1649)
Medium Oil on canvas
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Philippe de Champaigne
Les enfants Habert de Montmor
1649(1649)
Medium Oil on canvas
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Philippe de Champaigne
Portrait de Monseigneur Pierre de Bertier
Date 17th century
Medium Oil
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Philippe de Champaigne
Jean Antoine de Mesmes
1653(1653)
Medium Oil on canvas
Dimensions Height: 2.23 m (2.4 yd). Width: 1.62 m (1.8 yd).
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Philippe de Champaigne
Le Christ au Mont des oliviers
Date between 1646(1646) and 1650(1650)
Medium Oil on canvas
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Philippe de Champaigne
Portrait of Jacques Lemercier
17th century
Medium Oil on canvas
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Philippe de Champaigne
Portrait de Monseigneur Pierre de Bertier
17th century
Medium Oil
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Philippe de Champaigne
Portra des Henri Groulart
1654
Medium Oil on canvas
Dimensions Deutsch: 92,5 x 75,5 cm
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Philippe de Champaigne
Christ au Mont des oliviers
1646(1646) and 1650(1650)
Medium Oil on canvas
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Philippe de Champaigne
Saint Bernard Philippe de Champaigne Saint Etienne du Mont
Date 17th century
Medium Oil on canvas
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Philippe de Champaigne
Cardinal de Richelieu
oil on canvas, 1642
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Philippe de Champaigne
Saint Etienne du Mont
17th century
Medium oil on canvas
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Philippe de Champaigne
Ex Voto de
1662(1662)
Medium oil on canvas
Dimensions 165 x 229 cm
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Philippe de Champaigne
Nicolas de Plattemontagne
oil on canvas
Date 1654(1654)
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Philippe de Champaigne
Jean Baptiste de Champaigne
oil on canvas
Date 1654(1654)
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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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