Baron Jean-Baptiste Regnault
Paris 1754-1829 French painter. His first teacher was the history painter Jean Bardin, who took him to Rome in 1768. Back in Paris in 1772, he transferred to the studio of Nicolas-Bernard Lepicie. In 1776 he won the Prix de Rome with Alexander and Diogenes (Paris, Ecole N. Sup. B.-A.) and returned to Rome, where he was to spend the next four years at the Academie de France in the company of Jacques-Louis David and Jean-Francois-Pierre Peyron. While witnessing at first hand Peyron's development of a manner indebted to Poussin and David's conversion to Caravaggesque realism, Regnault inclined first towards a Late Baroque mode in a Baptism of Christ (untraced; recorded in two sketches and an etching), then, in Perseus Washing his Hands (1779; Louisville, KY, Speed A. Mus.), to the static Neo-classicism of Anton Raphael Mengs.

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Baron Jean-Baptiste Regnault The judement of Paris oil painting


The judement of Paris
1820(1820) Medium oil on canvas cyf
Painting ID::  91112
Baron Jean-Baptiste Regnault
The judement of Paris
1820(1820) Medium oil on canvas cyf
   
   
     

Baron Jean-Baptiste Regnault Achilles educated by Chiron oil painting


Achilles educated by Chiron
Oil on canvas, 1782. cyf
Painting ID::  96419
Baron Jean-Baptiste Regnault
Achilles educated by Chiron
Oil on canvas, 1782. cyf
   
   
     

Baron Jean-Baptiste Regnault The Judgment of Paris oil painting


The Judgment of Paris
1820(1820) Medium oil on canvas cyf
Painting ID::  98197
Baron Jean-Baptiste Regnault
The Judgment of Paris
1820(1820) Medium oil on canvas cyf
   
   
     

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     Baron Jean-Baptiste Regnault
     Paris 1754-1829 French painter. His first teacher was the history painter Jean Bardin, who took him to Rome in 1768. Back in Paris in 1772, he transferred to the studio of Nicolas-Bernard Lepicie. In 1776 he won the Prix de Rome with Alexander and Diogenes (Paris, Ecole N. Sup. B.-A.) and returned to Rome, where he was to spend the next four years at the Academie de France in the company of Jacques-Louis David and Jean-Francois-Pierre Peyron. While witnessing at first hand Peyron's development of a manner indebted to Poussin and David's conversion to Caravaggesque realism, Regnault inclined first towards a Late Baroque mode in a Baptism of Christ (untraced; recorded in two sketches and an etching), then, in Perseus Washing his Hands (1779; Louisville, KY, Speed A. Mus.), to the static Neo-classicism of Anton Raphael Mengs.

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