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c. 1445 – May 17, 1510. Italian painter.

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Jean Baptiste Simeon Chardin
Hare hunting bags and powder extinguishers

ID: 59643

Jean Baptiste Simeon Chardin Hare hunting bags and powder extinguishers
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Jean Baptiste Simeon Chardin Hare hunting bags and powder extinguishers


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Jean Baptiste Simeon Chardin

1699-1779 French Jean Baptiste Simeon Chardin Locations Chardin was born in Paris, the son of a cabinetmaker, and rarely left the city. He lived on the Left Bank near Saint-Sulpice until 1757, when Louis XV granted him a studio and living quarters in the Louvre. Chardin entered into a marriage contract with Marguerite Saintard in 1723, whom he did not marry until 1731. He served apprenticeships with the history painters Pierre-Jacques Cazes and Noël-Nicholas Coypel, and in 1724 became a master in the Acad??mie de Saint-Luc. Upon presentation of The Ray in 1728, he was admitted to the Acad??mie Royale de Peinture et de Sculpture. The following year he ceded his position in the Acad??mie de Saint-Luc. In November of 1731 his son Jean-Pierre was baptized, and a daughter, Marguerite-Agn??s, was baptized in 1733. In 1735 his wife Marguerite died, and within two years Marguerite-Agn??s had died as well. The Ray, 1728, Mus??e du Louvre, Paris.Beginning in 1737 Chardin exhibited regularly at the Salon. He would prove to be a dedicated academician, regularly attending meetings for fifty years, and functioning successively as counsellor, treasurer, and secretary, overseeing in 1761 the installation of Salon exhibitions. In 1744 he entered his second marriage, this time to Françoise-Marguerite Pouget. The following year a daughter, Ang??lique-Françoise, was born, but she died in 1746. In 1752 Chardin was granted a pension of 500 livres by Louis XV. At the Salon of 1759 he exhibited nine paintings; it was the first Salon to be commented upon by Denis Diderot, who would prove to be a great admirer and public champion of Chardin work. Beginning in 1761, his responsibilities on behalf of the Salon, simultaneously arranging the exhibitions and acting as treasurer, resulted in a diminution of productivity in painting, and the showing of replicas of previous works. In 1763 his services to the Acad??mie were acknowledged with an extra 200 livres in pension. In 1765 he was unanimously elected associate member of the Acad??mie des Sciences, Belles-Lettres et Arts of Rouen, but there is no evidence that he left Paris to accept the honor.[8] By 1770 Chardin was the Premiere peintre du roi, and his pension of 1,400 livres was the highest in the Academy. In 1772 Chardin son, also a painter, drowned in Venice, a probable suicide. The artist last known oil painting was dated 1776; his final Salon participation was in 1779, and featured several pastel studies. Gravely ill by November of that year, he died in Paris on December 6, at the age of 80.  Related Paintings of Jean Baptiste Simeon Chardin :. | Rabbit hunting with two powder extinguishers and Orange | Wild ducks hanging on the wall, and the Orange | Tea lady | Chardin bust self portrait | Military ceremonial instruments |
Related Artists:
Pierre-Antoine Baudouin
French Painter, 1723-1769 French painter. A pupil of Francois Boucher, whose younger daughter he married in 1758, he specialized in miniatures painted in gouache, which he first exhibited at the Salon of 1761. He was received as a member of the Acad?mie Royale in 1763 with a small gouache of a historical subject, Phryne Accused of Impiety before the Areopagite (Paris, Louvre), and he later painted illustrations of biblical episodes. However, he made his name as a painter of libertine scenes in contemporary settings, which he exhibited regularly at the Salon from 1763 until 1769. Some of his work is directly inspired by Boucher's scenes of pastoral love, but the ostensibly moral themes and careful attention to detail of such paintings as the Modest Model (exh. Salon 1769; Washington, DC, N.G.A.) demonstrate that he was also influenced by Jean-Baptiste Greuze. His pictures were condemned for their immorality, both by the Archbishop of Paris, who in 1763 and 1765 ordered that works by Baudouin be withdrawn from the Salon, and also by Denis Diderot and other critics who accused him of pandering to the decadent taste of his patrons. Nevertheless, Baudouin was one of the most popular artists of the last decades of the ancien regime.
Willem Kalf
1619-1693 Dutch Willem Kalf Galleries Willem Kalf was born in Rotterdam, in 1619. He was previously thought to have been born in 1622, but H. E. van Gelder??s important archival research has established the painter??s correct place and date of birth. Kalf was born into a prosperous patrician family in Rotterdam, where his father, a cloth merchant, held municipal posts as well. In the late 1630s, Willem Kalf travelled to Paris and spent time in the circle of the Flemish artists in Saint-Germain-des-Pr??s, Paris. In Paris he painted mainly small-scale rustic interiors and still-lifes. Kalf??s rustic interiors are typically dominated by groups of vegetables, buckets, pots and pans, which he arranged as a still-life in the foreground (e.g. Kitchen Still-life, Dresden, Gemäldegal; Alte Meister). Figures usually appeared only in the blurred obscurity of the background. Though painted in Paris, those pictures belong to a pictorial tradition practised primarily in Flanders in the early 17th century, by such artists as David Teniers the Younger. The only indication of the French origin of the paintings are a few objects that Flemish exponents of the same genre would not have pictured in their works. Kalf??s rustic interiors had a large influence on French art in the circle of the Le Nain brothers. The semi-monochrome still-lifes which Kalf created in Paris form a link to the banketjes or 'little banquet pieces' painted by such Dutch artists as Pieter Claesz, Willem Claeszoon Heda and others in the 1630s. During the 1640s, Kalf further developed the banketje into a novel form of sumptuous and ornate still-life (known as pronkstilleven), depicting rich groupings of gold and silver vessels. Like other still-lifes of this period, these paintings were usually expressing vanitas allegories.
Hippolyte Lazerges
1817-1887






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