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 :. | Portrait of Jacques Lemercier (1585-1654), Lemercier's Sorbonne in the background. | Saint Augustin | Jean Antoine de Mesmes | Saint Bernard Philippe de Champaigne Saint Etienne du Mont | The Dead Christ |
Related Artists:
Charles Dauphin
Charles Claude Dauphin or Dofin, called in Italian Delfino, a French painter of historical subjects and portraits, was the son of Olivier Dauphin. He went to Turin about the year 1664, and worked there for the Prince of Carignano. He was also employed for the churches, but his works are in no great estimation, abounding as they do with the most ridiculous absurdities. In the church of San Carlo is an altar-piece by him, described by Lanzi as a most ludicrous composition. He died in 1677.
Bernadino Luini
Italian c1481-1532 Bernadino Luini Gallery
Charles Angrand
French Pointillist Painter, 1854-1926.French painter. He was trained at the Acad?mie de Peinture et de Dessin in Rouen, where he won prizes. Although he failed to gain entry to the Ecole des Beaux-Arts in Paris, Angrand began to win a controversial local reputation for canvases in a loosely Impressionist manner. In 1882 he secured a post as a schoolteacher at the Coll?ge Chaptal in Paris. With this security he was able to make contacts in progressive artistic circles, and in 1884 he became a founder-member of the Salon des Ind?pendants. His paintings of this period depict rural interiors and kitchen gardens, combining the broken brushwork of Monet and Camille Pissarro with the tonal structure of Bastien-Lepage (e.g. In the Garden, 1884; priv. col., see 1979 exh. cat., p. 27).