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

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Philippe de Champaigne
Portrait of Jacques Lemercier (1585-1654), Lemercier's Sorbonne in the background.

ID: 76875

Philippe de Champaigne Portrait of Jacques Lemercier (1585-1654), Lemercier's Sorbonne in the background.
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Philippe de Champaigne Portrait of Jacques Lemercier (1585-1654), Lemercier's Sorbonne in the background.


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Philippe de Champaigne

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 :. | Still-Life with a Skull | Portrait of a Man (mk05) | Portrait of Robert Arnauld d'Andilly | Jean-Antoine de Mesmes, president of Paris'Parliament. | Moses with the Ten Commandments |
Related Artists:
Pope Alexander
American artist , b.1849 d.1924
Emma Minnie Boyd
Australian Painter, 1858-1936
Hirshfield Morris
American artist 1872-1946 American painter of Russian-Polish origin. He claimed to have carved wooden ceremonial objects as a young boy, but ceased to create until he retired from his clothing manufacturing concern and began to paint. When Sidney Janis was arranging an exhibition of American folk art for MOMA in 1939, he saw Hirshfield's naive works in a gallery in New York. He exhibited two in the show and organized a one-man show for the artist in 1943; he also purchased two works, including Beach Girl (1937; New York, MOMA). In such paintings Hirshfield based large areas of the overall design on the fabrics with which he worked during his years in business, and his outlined forms on the art of patternmaking.






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