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Polyptych of the Misericordia (1445–62) – Tempera and oil on panel, 273 x 330 cm, Museo Civico Sansepolcro |
The Baptism of Christ (c. 1448–50) – Tempera on panel, 168 × 116 cm, National Gallery, London |
St. Jerome in Penitence (c. 1449–51) – Tempera on panel, 51 × 38 cm, Staatliche Museen, Berlin |
St. Jerome and a Donor (Girolamo Amadi) (1451) – Tempera and oil on panel, 49 × 42 cm, Gallerie dell'Accademia, Venice |
Sigismondo Pandolfo Malatesta Praying in Front of St. Sigismund (1451) – Fresco (transferred to canvas), 257 x 345 cm, Tempio Malatestiano, Rimini |
Portrait of Sigismondo Pandolfo Malatesta (c. 1451) – Tempera and oil on panel, 44.5 × 34.5 cm, Musée du Louvre, Paris |
The History of the True Cross (c. 1455–66) – Fresco cycle, Basilica of San Francesco, Arezzo |
The Flagellation of Christ (c. 1460) – Tempera on panel, 58.4 x 81.5 cm, Galleria Nazionale delle Marche, Urbino |
Polyptych of Saint Augustine (1460–70) – Tempera and oil on panels, dispersed in several museums |
Resurrection (c. 1463) –Fresco, 225 × 200 cm, Museo Civico Sansepolcro |
Hercules (c. 1465) –Fresco (detached), 151 × 126 cm, Isabella Stewart Gardner Museum, Boston |
St. Mary Magdalene (c. 1466, 1458–70s) – Fresco, 190 × 180 cm, Cathedral, Arezzo |
Madonna del Parto (1459–67) – Detached fresco, 260 × 203 cm, Chapel of the cemetery, Monterchi |
The Nativity (c. 1470) – Oil on panel, 124.5 × 123 cm, National Gallery, London |
Polyptych of Saint Anthony (c. 1470) – Oil on panel, 338 × 230 cm, Galleria Nazionale dell'Umbria, Perugia |
Brera Madonna, i.e. Montefeltro Altarpiece, (1472–74) – Oil on panel, 248 × 170 cm, Pinacoteca di Brera, Milan |
Diptych of the Count and Countess of Urbino, Federico da Montefeltro and Battista Sforza – Oil on panel, each 47,4 × 33,6 cm, Galleria degli Uffizi, Florence. |
Madonna di Senigallia (c. 1474) – Oil on panel, 67 × 53.5 cm, Galleria Nazionale delle Marche, Urbino |
References |
Footnotes |
Citations |
Sources |
Further reading |
External links |
Media related to Piero della Francesca at Wikimedia Commons |
"The Art of Piero della Francesco", Lecture by Machtelt Brüggen Israëls at The Frick Collection, November 20, 2019. |
"Piero della Francesca in America", exhibition at The Frick Collection, February 12, 2013 to May 19, 2013. |
"Featured Catalogue—Interview with the Curator: Keith Christiansen", Metropolitan Museum of Art, March 5, 2014. |
Pierre Patel (1605 – 5 August 1676) was a French painter. |
Patel was born in Picardy and was admitted to the Guild of Saint-Germain-des-Prés in 1633 and the Académie de Saint-Luc in 1635. He primarily painted landscapes. In 1648 he had a son Pierre-Antoine Patel, who also became a painter. Patel died in Paris in 1676. |
References |
External links |
Media related to Pierre Patel at Wikimedia Commons |
Pierre Hubert Subleyras (French: [syblɛʁas]; November 25, 1699 – May 28, 1749) was a French painter, active during the late-Baroque and early-Neoclassic period, mainly in Italy. |
Life |
Subleyras was born in Saint-Gilles-du-Gard, France. |
He left France in 1728, having carried off the French Academy's grand prix, which provided scholarship for study in Rome. |
In Rome, he painted for the Elector of Saxony, Frederick Christian, a "Christ's Visit to the House of Simon the Pharisee", (later engraved by Subleyras himself), this work procured his admission into the famed Roman artists guild, Accademia di San Luca. |
Cardinal Valenti Gonzaga next obtained for him the order for Saint Basil & Emperor Valens (also known as the Mass of St. Basil, which was executed in mosaic for St Peter's. |
Another masterpiece is his painting of St Camillo De Lellis coming to the rescue of the diseased at the hospital of the Holy Spirit. |
He was a remarkably incisive portraitist, as evident from the portrait of Pope Benedict XIV or of the obese Cardinal Valenti Gonzaga. The pope himself commanded two great paintings, the "Marriage of St Catherine" and the "Ecstasy of St Camilla", which he placed in his own private apartments. Another portrait was of the cleric and artist Giovanni Felice Ramelli, which Ramelli then replicated in miniature. |
Subleyras shows greater individuality in his curious genre pictures, which he produced in considerable number (Louvre). |
In his illustrations of La Fontaine and Boccaccio his true relation to the modern era comes out; and his drawings from nature are often admirable (see one of a man draped in a heavy cloak in the British Museum). |
Exhausted by overwork, Subleyras tried a change to Naples, but returned to Rome at the end of a few months to die. His wife, the celebrated miniature painter, Maria Felice Tibaldi, was sister to Isabella, the wife of Trémolières. |
Partial catalogue and gallery |
Paintings at the Louvre |
Don Cesare Benvenuti |
L'Absolution de Théodose |
Le Gaucon |
L'Ermite ou Frère Luce |
Les Oies du frère Philippe |
Portrait présumé de Jacques-Antoine de Lironcourt |
Saint Benoît ressuscite un enfant |
Saint Jean d'Avila |
References |
Attribution |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Subleyras, Pierre". Encyclopædia Britannica. Vol. 25 (11th ed.). Cambridge University Press. |
External links |
Media related to Pierre Subleyras at Wikimedia Commons |
Michel, Olivier (August 1996). "Subleyras, Pierre (1699 - 1749), painter, draughtsman, printmaker". Grove Art Online. Oxford Art Online. Vol. 1. Oxford University Press. doi:10.1093/gao/9781884446054.article.T082172. |
Pierre-Antoine Lemoine (1605–19 August 1665) was a French painter known for still lifes. He died in Paris. His Still Life with Bunches of Grapes, Figs, and Pomegranates shows Italian influence, and may have been exhibited for the academy in 1654. |
== References == |
Pierre Athanase Chauvin (9 June 1774 – 29 October 1832) was a French painter active in Italy. |
Chauvin was a student of the landscape painter Pierre-Henri de Valenciennes. He began his career at the Paris Salon in 1793 and won the First Class Medal in 1819 with his painting Charles VIII’s entry into Acquapendente. The painting was commissioned by Louis XVIII of France for the Galerie de Diane at the Palace of Fontainebleau. |
In 1813, Chauvin settled in Rome and became a member of the Accademia di San Luca. Chauvin’s views of Italy show the influence of Jean Auguste Dominique Ingres in their both classical and realist style. Chauvin knew Ingres and the latter painted portraits of Chauvin and his wife in 1814. |
Chauvin was elected Chevalier of the Legion of Honor in 1828. |
His work was represented in the exhibition An Enchanted Country. Italy depicted by Artists from Thomas Jones to Corot at the Centro Internazionale d’Arte e di Cultura di Palazzo Te in Mantua, Italy in 2001. |
References |
An Enchanted Country. Italy depicted by Artists from Thomas Jones to Corot Exhibition Catalogue, Ottarri Cavina, Anna, Electa, Milan, 2001 |
De David a Delacroix: La Peinture francaise de 1774 à 1830 Exhibition Catalogue, Paris Grand Palais, 1974, pp 349–351 |
Grove Dictionary of Art, Lorraine Peake, vol. 6, p. 519 |
Further reading |
French painting 1774-1830: the Age of Revolution. New York; Detroit: The Metropolitan Museum of Art; The Detroit Institute of Arts. 1975. |
Pierre-Auguste Renoir (; French: [pjɛʁ oɡyst ʁənwaʁ]; 25 February 1841 – 3 December 1919) was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau." |
He was the father of actor Pierre Renoir (1885–1952), filmmaker Jean Renoir (1894–1979) and ceramic artist Claude Renoir (1901–1969). He was the grandfather of the filmmaker Claude Renoir (1913–1993), son of Pierre. |
Life |
Youth |
Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, in 1841. His father, Léonard Renoir, was a tailor of modest means, so, in 1844, Renoir's family moved to Paris in search of more favorable prospects. The location of their home, in rue d'Argenteuil in central Paris, placed Renoir in proximity to the Louvre. Although the young Renoir had a natural proclivity for drawing, he exhibited a greater talent for singing. His talent was encouraged by his teacher, Charles Gounod, who was the choirmaster at the Church of St Roch at the time. However, due to the family's financial circumstances, Renoir had to discontinue his music lessons and leave school at the age of thirteen to pursue an apprenticeship at a porcelain factory. |
Although Renoir displayed a talent for his work, he frequently tired of the subject matter and sought refuge in the galleries of the Louvre. The owner of the factory recognized his apprentice's talent and communicated this to Renoir's family. Following this, Renoir started taking lessons to prepare for entry into Ecole des Beaux Arts. When the porcelain factory adopted mechanical reproduction processes in 1858, Renoir was forced to find other means to support his learning. Before he enrolled in art school, he also painted hangings for overseas missionaries and decorations on fans. |
In 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet. At times, during the 1860s, he did not have enough money to buy paint. Renoir had his first success at the Salon of 1868 with his painting Lise with a Parasol (1867), which depicted Lise Tréhot, his lover at the time. Although Renoir first started exhibiting paintings at the Paris Salon in 1864, recognition was slow in coming, partly as a result of the turmoil of the Franco-Prussian War. |
During the Paris Commune in 1871, while Renoir painted on the banks of the Seine River, some Communards thought he was a spy and were about to throw him into the river, when a leader of the Commune, Raoul Rigault, recognized Renoir as the man who had protected him on an earlier occasion. In 1874, a ten-year friendship with Jules Le Cœur and his family ended, and Renoir lost not only the valuable support gained by the association but also a generous welcome to stay on their property near Fontainebleau and its scenic forest. This loss of a favorite painting location resulted in a distinct change of subjects. |
Adulthood |
Renoir was inspired by the style and subject matter of previous modern painters Camille Pissarro and Édouard Manet. After a series of rejections by the Salon juries, he joined forces with Monet, Sisley, Pissarro, and several other artists to mount the First Impressionist Exhibition in April 1874, in which Renoir displayed six paintings. Although the critical response to the exhibition was largely unfavorable, Renoir's work was comparatively well received. That same year, two of his works were shown with Durand-Ruel in London. |
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