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.  Related Paintings of Philippe de Champaigne :. | A portrait of a man | Nicolas de Plattemontagne | Portrait de Monseigneur Pierre de Bertier | Ex Voro | Mother Catherine Agnes and Sister Catherine Sainte-Suzanne |
Related Artists:
Paula Modersohn-Becker
German 1876-1907 Paula Becker was born and grew up in Dresden-Friedrichstadt. She was the third child of seven children in her family. Her father who was the son of a Russian university professor, was employed with the German railway. He and Modersohn-Becker's mother, who was from an aristocratic family, provided the children a cultured and intellectual environment in the house hold. Modersohn-Becker's parental home 1888-1899In 1888 her parents moved from Dresden to Bremen. While visiting an aunt in London, England, she received her first instruction in drawing. Apart from her teacher's training in Bremen in 1893-1895, Paula took private instruction in painting. In 1896 she participated in a course for painting and drawing sponsored by the "Verein der Berliner K??nstlerinnen" (Union of Berlin Female Artists) which offered art studies to women. Paula Modersohn-Becker. Clara Rilke WesthoffAt the age of 22, she encountered the artistic community of Worpswede. In this "village", artists such as Fritz Mackensen (1866-1953) and Heinrich Vogeler (1872-1942) had retreated to protest against the domination of the art academy and life in the big city. At Worpswede, Paula Modersohn-Becker took painting lessons from Mackensen. The main subjects were the life of the farmers and the northern German landscape. At this time she began close friendships with the sculptor Clara Westhoff (1875-1954) and the poet Rainer Maria Rilke (1875-1926). She also fell in love during this period, and in 1901 she married a fellow Worpswede painter, Otto Modersohn. In marrying Otto, she also became a stepmother to Otto's daughter, Elsbeth Modersohn, the child from his first marriage to Helene Modersohn, then deceased. Paula Modersohn-Becker. Rainer Maria Rilke, 1906Between 1900 and 1907, Paula made several extended trips to Paris for artistic purposes, sometimes living separately from her husband, Otto. During one of her residencies in Paris, she took courses at the Ecole des Beaux-Arts. She visited contemporary exhibitions often, and was particularly intrigued with the work of Paul C??zanne. Other post impressionists were especially influential, including Vincent Van Gogh and Paul Gauguin. Fauve influences may also appear in such works as Poorhouse Woman with a Glass Bottle. The influence by the work of French painter, Jean-Francois Millet, who was widely admired among the artists in the Worpswede group, may be seen in such pieces as her 1900 Peat Cutters. Reclining Mother and ChildIn her last trip to Paris in 1906, she produced a body of paintings from which she felt very great excitement and satisfaction. During this period of painting, she produced her initial nude self-portraits (something surely unprecedented by a female painter) and portraits of friends such as Rainer Maria Rilke and Werner Sombart. Some critics consider this period of her art production to be the strongest and most compelling. Paula with Mathilde, November 1907 (days before Paula's death)In 1907, Paula Modersohn-Becker returned to her husband in Worpswede. Their relationship, which had been particularly strained in 1906, had taken a turn towards improvement. Paula's long-lived wish to conceive and bear a child was fulfilled. Her daughter Mathilde (Tillie) Modersohn was born on November 2, 1907. Paula and Otto were joyous. Sadly, the joy became soon overshadowed by tragedy, as Paula Modersohn-Becker died suddenly in Worpswede on November 20th from an embolism. In 1908, Rainer Maria Rilke wrote the renowned poem, "Requiem for a Friend", in Paula's memory. The poem was born of the imprint that Paula's life, death and friendship left upon Rilke.
Joseph Siffred Duplessis
French Painter, 1725-1802 was a French painter, known for the clarity and immediacy of his portraits. He was born into a family with an artistic bent and received his first training from his father, a surgeon and talented amateur, then with Joseph-Gabriel Imbert (1666?C1749), who had been a pupil of Charles Le Brun. From 1744-47 or later he worked in Rome, in the atelier of Pierre Subleyras, who was also from the south of France, who died in 1749. In Italy Duplessis became fast friends with Joseph Vernet, another Occitan. He returned to Carpentras, spent a brief time in Lyon then arrived about 1752 in Paris, where he was accepted into the Academie de Saint-Luc and exhibited some portraits, which were now his specialty, in 1764, but did not achieve much notice until his exhibition of ten paintings at the Paris salon of 1769, very well received and selected for special notice by Denis Diderot; the Academie de peinture et de sculpture accepted him in the category of portraitist, considered a lesser category at the time. He continued to exhibit at the Paris salons, both finished paintings and sketches, until 1791, and once more, in 1801. His portrait of the Dauphine in 1771 and his appointment as a peintre du Roi assured his success: most of his surviving portraits date from the 1770s and 1780s. He received privileged lodgings in the Galeries du Louvre. In the Revolution, he withdrew to safe obscurity at Carpentras during the Reign of terror. Afterwards, from 1796, he served as curator at the newly-founded museum formed at Versaillles, so recently emptied of its furnishings at the Revolutionary sales. His uncompromising self-portrait at this time of his life is at Versailles. His adjusted his style to the social condition of his sitter: his portrait of Charles-Claude, comte d'Angiviller, director of the Batiments du Roi, is as distant and conventional as his state portrait of Louis XVI in coronation robes (1776), while his realistic and intimate portrait of the opera composer Christoph Willibald Gluck (Kunsthistorisches Museum, Vienna) catches the composer at the keyboard in a moment of inspiration and his penetrating portrait of the sculptor Christophe Gabriel Allegrain (Louvre Museum, illustration) shows him having just laid down his chisel: this was the morceau de reception that gained him admittance to the Academie. Duplessis' Benjamin Franklin on the U.S. hundred dollar billHis portrait of Benjamin Franklin (1778),
George Benjamin Luks
(August 13, 1867-October 29, 1933) was an American realist artist and illustrator. His vigorously painted genre paintings of urban subjects are examples of the Ashcan school in American art. Luks was born in Williamsport, Pennsylvania, to Central European immigrants. His father was a physician and his mother was an amateur painter and musician.The Luks family (George, his parents and five siblings) eventually moved to Pottsville, in Southern Pennsylvania near the coal fields. In this setting, he learned at a young age the importance of compassion by watching how his parents helped the coal miners' families, and many believe that this is the reason why lower class New Yorkers were often Luks's subject matter. Luks studied at the Pennsylvania Academy of Fine Arts before he traveled though Europe where he attended several art schools. Later he went to Desseldorf where he lived with a distant relative, a retired lion-tamer. He abandoned Desseldorf for the more stimulating spheres of London and Paris. He then returned to Philadelphia in 1893 where he was an illustrator for the Philadelphia Press where he met John Sloan, William Glackens, and Everett Shinn. They would meet at the studio of Robert Henri, an artist who emphasized the depiction of ordinary life, shunning genteel subjects and painting quickly. The group became known as the "Philadelphia Five". In 1896, Luks moved to New York and began his art career there as the premier humorist artist for the New York World. During his time as an illustrator there, he lived with William Glackens.