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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.
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Ex Voro
mk86
1662
Oil on canvas
165x229cm
Paris,Musee National du Louvre
Painting ID:: 33607
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Ex_Voro
mk86
1662
Oil on canvas
165x229cm
Paris,Musee National du Louvre
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Cardinal Richelieu
mk156
1650
Oil on canvas
222x155cm
Painting ID:: 40487
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Cardinal_Richelieu
mk156
1650
Oil on canvas
222x155cm
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Ex-Voto
mk156
1662
Oil on canvas
165x229cm
Painting ID:: 40500
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Ex-Voto
mk156
1662
Oil on canvas
165x229cm
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Cardinal Richelieu
mk170
circa 1637
Oil on canvas
259.7x177.8cm
Painting ID:: 43233
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Cardinal_Richelieu
mk170
circa 1637
Oil on canvas
259.7x177.8cm
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The Presentation of the Temple
1648
Oil on canvas,
257 x 197 cm
Painting ID:: 51032
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The_Presentation_of_the_Temple
1648
Oil on canvas,
257 x 197 cm
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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.
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