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General studies |
=== Reference works === |
Charles-François Daubigny ( DOH-bin-yee, US: DOH-been-YEE, doh-BEEN-yee, French: [ʃaʁl fʁɑ̃swa dobiɲi]; 15 February 1817 – 19 February 1878) was a French painter, one of the members of the Barbizon school, and is considered an important precursor of impressionism. |
He was also a prolific printmaker, mostly in etching, and one of the main artists who used the cliché verre technique. |
Biography |
Daubigny was born in Paris, into a family of painters; taught art by his father, Edmé-François Daubigny, and his uncle, miniaturist Pierre Daubigny (1793-1858). He was also a pupil of Jean-Victor Bertin, Jacques Raymond Brascassat and Paul Delaroche, from whom he would quickly emancipate himself. Though best known for ... |
In 1838, he set up, at the Rue des Amandiers-Popincourt, a community of artists, a phalanstery, with Adolphe-Victor Geoffroy-Dechaume, Hippolyte Lavoignat, Ernest Meissonnier, Auguste Steinheil, Louis Joseph Trimolet, with whom he already had expressed his interest in subjects drawn directly from daily life and nature.... |
Initially Daubigny painted in a more traditional style, but this changed after 1843 when he settled in Barbizon to work outside in nature. Even more important was his meeting with Camille Corot in 1852 in Optevoz (Isère). On his famous boat Botin, which he had turned into a studio, he painted along the Seine and Oise, ... |
In 1848, Daubigny worked on behalf of the Chalcographie du Louvre, performing facsimiles, which testifies to his great expertise in this art, and revisiting the technique of aquatint in a less cumbersome process. His famous series of Rolling Carts dates from this period. In 1862, with Corot, he experimented with the cl... |
In 1866, he joined the jury of the Paris Salon for the first time, alongside his friend Corot. The same year, Daubigny visited England, eventually returning because of the Franco-Prussian war, in 1870. In London he met Claude Monet, and they left for the Netherlands together. Back in Auvers, he met Paul Cézanne, anothe... |
Daubigny died in Paris in 1878. His remains are interred at cimetière du Père-Lachaise (division 24). |
His followers and pupils included his son Karl (whose works are occasionally mistaken for those of his father), Achille Oudinot, Hippolyte Camille Delpy, Albert Charpin and Pierre Emmanuel Damoye. The two painters who introduced the Barbizon School in Portugal, in 1879, António da Silva Porto and João Marques de Olivei... |
Paintings |
The most striking paintings by Daubigny were those produced between 1864 and 1874, which depict mostly forest landscapes and lakes. Disappointed because he felt that he did not meet with the same level of success and admiration as his contemporaries, by the end of his career he was nonetheless an extremely sought-after... |
His most ambitious canvases include Springtime (1857), in the Louvre; Borde de la Cure, Morvan (1864); Villerville sur Mer (1864); Moonlight (1865); Auvers-sur-Oise (1868); and Return of the Flock (1878). He was named by the French government as an Officer of the Legion of Honor. |
In popular culture |
The life of Daubigny was adapted into a graphic novel by Belgian comics writer Bruno de Roover and artist Luc Cromheecke. It appeared under the title De Tuin van Daubigny (The Garden of Daubigny, 2016). |
Public collections |
Among the public collections holding works by Charles-François Daubigny are: |
Gallery |
See also |
Daubigny's Garden, painted three times by Vincent van Gogh. |
Notes |
References |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Daubigny, Charles François". Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. p. 847. |
Further reading |
O'Neill, J, ed. (2000). Romanticism & the school of nature : nineteenth-century drawings and paintings from the Karen B. Cohen collection. New York: The Metropolitan Museum of Art. (see index) |
External links |
56 artworks by or after Charles-François Daubigny at the Art UK site |
Charles-François Daubigny – Museum – Musée Daubigny Auvers-sur-Oise |
Charles-François Daubigny's Home-Studio – Maison-Atelier de Daubigny Auvers-sur-Oise. Historical monument. |
Charles-François Daubigny – Rehs Galleries' biography on the artist. |
Charles-François Daubigny at Artcyclopedia |
Charlotte Vignon (1639 – c.1700) was a French still life painter. |
Vignon was born in Paris as one of the children of the painter Claude Vignon and his first wife Charlotte de Leu, who was the daughter of the engraver Thomas de Leu. Her older siblings Philippe Vignon and Claude-Francois Vignon also became painters. Presumably she learned to paint with her family, but her unsigned oeu... |
Her death is not recorded but she probably died around the same time as her brothers (1701-1703). |
References |
La vie silencieuse en France: la nature morte au XVIIIe siècle, by Michel Faré, Fabrice Faré, Office du Livre, 1976, ISBN 2-85109-012-7 |
Lodovico or Ludovico Cardi (21 September 1559 – 8 June 1613), also known as Cigoli, was an Italian painter and architect of the late Mannerist and early Baroque period, trained and active in his early career in Florence, and spending the last nine years of his life in Rome. |
Biography |
Lodovico Cardi was born at Villa Castelvecchio in Cigoli, Tuscany, whence the name by which he is commonly known. Initially, Cigoli trained in Florence under the fervid mannerist Alessandro Allori, and studied the works of Michelangelo, Correggio, Andrea del Sarto and Pontormo. Later, influenced by the most prominent o... |
For the Roman patron, Massimo Massimi, he painted an Ecce Homo (now in Palazzo Pitti). Supposedly unbeknownst to any of the painters, two other prominent contemporary painters, Passignano and Caravaggio, had been requested canvases on the same theme. This work was afterwards taken by Napoleon to the Louvre, and was res... |
One of his early paintings was of Cain slaying Abel. He then gained the employ of the Grand-Duke in some works for the |
Pitti Palace, where he painted a Venus and Satyr and a Sacrifice of Isaac. |
Other important pictures are St. Peter Healing the Lame Man in St Peter's; an unfinished Burial of St. Paul in the church of San Paolo fuori le Mura, and a Story of Psyche in a fresco incorporated in the decorative scheme of the Villa Borghese; a Martyrdom of Stephen, which earned him the name of the "Florentine Correg... |
As stated by the prominent 17th-century painter, Andrea Sacchi, Cigoli's, St Peter Healing the Lame Man came to be recognized as the third most beautiful painting in Rome after Raphael's Transfiguration and Domenichino's The Last Communion of St Jerome. Cigoli's fame and influence, even prior to coming to Rome, was of ... |
Cigoli, a close personal friend of Galileo Galilei – and regarded by him as the greatest painter of the age – painted a last fresco in the dome of the Pauline chapel of the church of Santa Maria Maggiore in Rome, depicting the Madonna standing upon a pock-marked lunar orb. This is the first extant example of Galileo's ... |
His pupils include Cristofano Allori (1577–1621), the Fleming Giovanni Biliverti (1576–1644), Domenico Fetti, Giovanni Antonio Lelli, Aurelio Lomi, Pietro Medici, Gregorio Pagani, and Andrea Comodi (1560–1638). |
References |
Sources |
Wittkower, Rudolf (1993). "Art and Architecture Italy, 1600-1750". Pelican History of Art. 1980. Penguin Books Ltd. pp. 97–98. |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Cigoli". Encyclopædia Britannica. Vol. 6 (11th ed.). Cambridge University Press. p. 365. |
External links |
Orazio and Artemisia Gentileschi, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on Cigoli (see index) |
Giovanni Cimabue (Italian: [tʃimaˈbuːe]), c. 1240 – 1302, was an Italian painter and designer of mosaics from Florence. He was also known as Cenni di Pepo or Cenni di Pepi. |
Although heavily influenced by Byzantine models, Cimabue is generally regarded as one of the first great Italian painters to break from the Italo-Byzantine style. Compared with the norms of medieval art, his works have more lifelike figural proportions and a more sophisticated use of shading to suggest volume. Accordin... |
Life |
Little is known about Cimabue's early life. One source that recounts his career is Vasari's Lives of the Most Excellent Painters, Sculptors, and Architects, but its accuracy is uncertain. |
He was born in Florence and died in Pisa. Hayden Maginnis speculates that he could have trained in Florence under masters who were culturally connected to Byzantine art. The art historian Pietro Toesca attributed the Crucifixion in the church of San Domenico in Arezzo to Cimabue, dating around 1270, making it the earli... |
Around 1272, Cimabue is documented as being present in Rome, and a little later he made another Crucifix for the Florentine church of Santa Croce. Now restored, having been damaged by the 1966 Arno River flood, the work was larger and more advanced than the one in Arezzo, with traces of naturalism perhaps inspired by t... |
According to Vasari, Cimabue, while travelling from Florence to Vespignano, came upon the 10-year-old Giotto (c. 1277) drawing his sheep with a rough rock upon a smooth stone. He asked if Giotto would like to come and stay with him, which the child accepted with his father's permission. Vasari elaborates that during Gi... |
Around 1280, Cimabue painted the Maestà, originally displayed in the church of San Francesco at Pisa, but now at the Louvre. This work established a style that was followed subsequently by numerous artists, including Duccio di Buoninsegna in his Rucellai Madonna (in the past, wrongly attributed to Cimabue) as well as G... |
During the pontificate of Pope Nicholas IV, the first Franciscan pope, Cimabue worked in Assisi. At Assisi, in the transept of the Lower Basilica of San Francesco, he created a fresco named Madonna with Child Enthroned, Four Angels and St Francis. The left portion of this fresco is lost, but it may have shown St Anthon... |
The Maestà of Santa Trinita, dated to c. 1290–1300, which was originally painted for the church of Santa Trinita in Florence, is now in the Uffizi Gallery. The softer expression of the characters suggests that it was influenced by Giotto, who was by then already active as a painter. |
Cimabue spent the last period of his life, 1301 to 1302, in Pisa. There, he was commissioned to finish a mosaic of Christ Enthroned, originally begun by Maestro Francesco, in the apse of the city's cathedral. Cimabue was to create the part of the mosaic depicting St John the Evangelist, which remains the sole surviving... |
Character |
According to Vasari, quoting a contemporary of Cimabue, "Cimabue of Florence was a painter who lived during the author's own time, a nobler man than anyone knew but he was as a result so haughty and proud that if someone pointed out to him any mistake or defect in his work, or if he had noted any himself... he would im... |
The nickname Cimabue translates as "bull-head" but also possibly as "one who crushes the views of others", from the Italian verb cimare, meaning "to top", "to shear", and "to blunt". The conclusion for the second meaning is drawn from similar commentaries on Dante, who was also known "for being contemptuous of criticis... |
Legacy |
History has long regarded Cimabue as the last of an era that was overshadowed by the Italian Renaissance. As early as 1543, Vasari wrote of Cimabue, "Cimabue was, in one sense, the principal cause of the renewal of painting," with the qualification that, "Giotto truly eclipsed Cimabue's fame just as a great light eclip... |
In Dante's Divine Comedy |
In Canto XI of his Purgatorio, Dante laments the quick loss of public interest in Cimabue in the face of Giotto's revolution in art. Cimabue himself does not appear in Purgatorio, but is mentioned by Oderisi, who is also repenting for his pride. The artist serves to represent the fleeting nature of fame in contrast wit... |
Market |
On 27 October 2019, The Mocking of Christ, was sold for €24m (£20m; $26.6m), a price the auctioneers described as a new world record for a medieval painting. The picture had been located in the kitchen of a home in northern France, and its owner had been unaware of its value. |
List of works |
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