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Footnotes
References
Sources
Further reading
Ganz, James A. and Richard Kendall (2007). The Unknown Monet: Pastels and Drawings. Williamstown, Mass. : Sterling and Francine Clark Art Institute.
Rey, Jean-Dominique and Denis Rouart (2008). Monet, les nymphéas : l'intégralité (in French). Paris: Flammarion.
Wildenstein, Daniel (1974–1991). Claude Monet : biographie et catalogue raisonné (in French). Vol. I–V. Lausanne; Paris: Wildenstein Institute and La Bibliothèque des Arts.
External links
Claude Monet at the Museum of Modern Art
Claude Monet, Ministère de la culture et de la communication
Claude Monet, Joconde, Portail des collections des musées de France
Monet at Giverny
Union List of Artist Names, Getty Vocabularies
Claude Monet at The Guggenheim
Monet at Norton Simon Museum
Impressionism: a centenary exhibition, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Monet (p. 131–167)
Monet: The Late Years exhibition at Kimbell Art Museum
Claude Monet: The Revised Catalogue Raisonné, The Pastels, the digital catalogue raisonné at the Wildenstein Plattner Institute
Claude Monet Research Archives (1901–1987)
Claude Vignon (19 May 1593 – 10 May 1670) was a French painter, printmaker and illustrator who worked in a wide range of genres. During a period of study in Italy, he became exposed to many new artistic currents, in particular through the works of Caravaggio and his followers, Guercino, Guido Reni and Annibale Caracci. A prolific artist, his work has remained enigmatic, contradictory and hard to define within a single term or style. His mature works are vibrantly coloured, splendidly lit and often extremely expressive. Vignon worked in a fluent technique, resulting in an almost electric brushwork. He particularly excelled in the rendering of textiles, gold and precious stones.
Life
Claude Vignon was born into a wealthy family in Tours. He received his initial artistic training in Paris from the Mannerist painter Jacob Bunel, a representative of the Second School of Fontainebleau. Although Vignon is not actually documented in Rome until 1618–19 he was probably based there throughout that decade. He likely travelled to Rome as early as 1609–10. Here he formed part of the French community of painters, including Simon Vouet and Valentin de Boulogne, both prominent members of the Caravaggisti, artists working in a style influenced by Caravaggio.
Vignon returned to his home country in 1616 where he became member of the Painter's Guild of Paris in that year. He travelled a second time to Rome the next year. He also visited Spain, where he was reportedly attacked by 8 bandits in Barcelona, one of whom wounded him in the face.
Back in France in 1623, he married in 1624 Charlotte de Leu, the daughter of the engraver Thomas de Leu. Following his return to Paris he became one of the city's most respected, productive and successful artists. His patrons included king Louis XIII and Cardinal Richelieu. He also worked for ecclesiastical patrons as well as for private clients. He became a business associate of the print publisher and art dealer François Langlois. While the great decorative schemes of the day went to other painters such as Simon Vouet who had returned to France in 1627 and Philippe de Champaigne, Vignon continued to enjoy wide patronage and was highly sought after by the circle of the renowned literary salon of the Hôtel de Rambouillet. Anne, Duchesse de Longueville commissioned him to decorate the gallery at the Château du Thorigny between 1651 and 1653.
After the death of his first wife he married Geneviève Ballard in 1644. He is said to have fathered 35 children, 24 of whom are documented. Some of his children became painters in their father's workshop: amongst them his sons Claude the Younger (1633–1703) and Philippe (1638–1701) and his daughter Charlotte (1639–?).
Vignon was admitted to the Académie royale de peinture et de sculpture in 1651. His last dated work is dated 1656.
Work
Vignon painted portraits, genre scenes and religious works. Claude Vignon was a very versatile artist who assimilated elements of various styles from Mannerism to Venetian, Dutch and German art. Important influences on his style were the works of the Venetian Caravaggesque painter Domenico Fetti, the German Adam Elsheimer, and the Dutchmen Jacob Pynas, Pieter Lastman and many others. His style likely owes most to the eccentric style of Leonaert Bramer except that Vignon worked on a much grander scale than typically found in Bramer's paintings. Another important influence was Caravaggio's most direct follower Bartolomeo Manfredi. The multiple influences have made his work enigmatic, contradictory, complex and hard to define within a single term or style. Some art historians regard him as a precursor of Rembrandt.
He started out in a Mannerist style and was then influenced by Carravagism during his stay in Rome. In Rome he is known to have created a number of single figure paintings depicting male saints reading or writing. An example is the St. John the Evangelist (At Christie's on 25 May 2005, New York, lot 38). This composition is particularly Caravaggesque in its representation of the light source, which shines down onto St. John, thus illuminating his face and hands and casting the folds of his cloak into dynamic patterns of light and shadow.
By the 1620s his work had started to reflect elements of both Venetian colouring and Jacques Bellange's Northern Mannerist conventions. In the mid 1620s he vacillated between various styles, in some paintings showing a more Caravaggist bent such as in the Christ among the doctors (1623, Museum of Grenoble) or the Vision of St Jerome (1616, Nationalmuseum, Stockholm). Other works are more reserved, while some have a clear Baroque vigor such as the Triumph of St Ignatius (1628, Musée des Beaux-Arts d'Orléans). A pivotal work from this period is the Solomon and the Queen of Sheba (1624, Louvre), which displays his taste for the exotic and for theatrical arrangements and uses a thick, encrusted impasto, shot through with golden highlights and an unusual combination of colours.
In the period 1630-1640 when the artist worked in Paris his palette became richer. He used rich tonalities, such as pink, blue, gold and bursts of red colour on soft gray background in his compositions. He relied on an original technique by executing his work in two successive stages: first he made a quick outline of the composition and then he painstakingly rendered the fabrics and jewelry, giving the material greater consistency and relief. It was by relying on this technique that Vignon was able to establish a great reputation for the speed at which he painted. It also allowed him to produce the great number of paintings for which he is known. The paintings of this period still hold reminiscences of Vignon's Caravaggesque period but are overlaid with a new decorative sensuality, which reflects a new sensibility emerging in Paris at that time. An example of a work of this period is the Banquet Scene (At Sotheby's on 22 June 2010 in Paris, lot 19).
His works of the period 1640–50 are characterised by their rich coloring, bejeweled surface and theatrical mannerism. His compositions are bathed in a strange, sepulchral moonlight and executed in shimmering, encrusted paint which sometimes takes on the appearance of intricately chased silver. It is for these characteristics that Vignon has sometimes been called a 'pre-Rembrandtist' painter.
Vignon was active as an etcher throughout his career. He showed the same high level of technical skill in his printed works as in his paintings. He was one of the most prominent printmakers in 17th century France. He also produced illustrations for publications by the French writers of the précieuses literary circle.
Notes
External links
Media related to Claude Vignon at Wikimedia Commons
Claude-Joseph Vernet (French pronunciation: [klod ʒozɛf vɛʁnɛ]; 14 August 1714 – 3 December 1789) was a French painter. His son, Antoine Charles Horace Vernet, was also a painter.
Life and work
Vernet was born in Avignon. When only fourteen years of age he aided his father, Antoine Vernet (1689–1753), a skilled decorative painter, in the most important parts of his work. The panels of sedan chairs, however, could not satisfy his ambition, and Vernet left for Rome. The sight of the whales at Marseilles and his voyage thence to Civitavecchia (Papal States' main port on the Tyrrhenian Sea) made a deep impression on him, and immediately after his arrival he entered the studios of whale painter Bernardino Fergioni and marine landscapist Adrien Manglard. Manglard and Fergioni initiated Vernet into seascape painting.
In 1734, Vernet left for Rome to study landscape designers and maritime painters, like Claude Gellee Claude Lorrain, where we find the styles and subjects of Vernet's paintings.
Slowly Vernet attracted notice in the artistic milieu of Rome. With a certain conventionality in design, proper to his day, he allied the results of constant and honest observation of natural effects of atmosphere, which he rendered with unusual pictorial art. Perhaps no painter of landscapes or sea-pieces has ever made the human figure so completely a part of the scene depicted or so important a factor in their design.
In this respect he was heavily influenced by Giovanni Paolo Panini, whom he probably met and worked with in Rome. Vernet's work draws on natural themes, but in a way that is neither sentimental or emotive. The overall effect of his style is wholly decorative. "Others may know better", he said, with just pride, "how to paint the sky, the earth, the ocean; no one knows better than I how to paint a picture". His style remained relatively unchanged throughout his life. His works' attentiveness to atmospheric effects is combined with a sense of harmony that is reminiscent of Claude Lorrain.
Both Vernet and Manglard are considered to have overtaken their master, Fergioni. Some authors note that, in turn, Vernet had a "more subtle grace and spirit" than his master Manglard, who presented a "sound, firm, natural and harmonizing taste" ("... Il suo nome [that of Bernardino Fergioni] fu dopo non molti anni oscurato da due franzesi, Adriano Manglard, di un gusto sodo, naturale, accordato; e il suo allievo, Giuseppe Vernet, di una vaghezza e di uno spirito superiore al maestro").
For twenty years Vernet lived in Rome, producing views of seaports, storms, calms, moonlights, and large whales, becoming especially popular with English aristocrats, many of whom were on the Grand Tour. In 1745, he married an Englishwoman whom he met in the city. In 1753, he was recalled to Paris: there, by royal command, he painted the series of the seaports of France (now in the Louvre and the Musée national de la Marine) by which he is best known for.
His The Port of Rochefort (1763, Musée national de la Marine) is particularly notable; in the piece Vernet is able to achieve, according to art historian Michael Levey, one of his most 'crystalline and atmospherically sensitive skies'. Vernet has attempted to bring the foreground of his work to life through painting a wide array of figures engaging in a variety of activities, endeavouring to convey the sense of the commotion and drama of France's seaports.
In 1757, he painted a series of four paintings titled Four Times of the Day depicting the four times of the day. Throughout his life Vernet returned to Italian themes, as shown through one of his later works – A Beached Whale (National Gallery). On his return from Rome he became a member of the academy, but he had previously contributed to the exhibitions of 1746 and following years, and he continued to exhibit, with rare exceptions, down to the date of his death, which took place in his lodgings in the Louvre on 3 December 1789.
Vernet is honoured in street names in Avignon, Dieppe, Magnac-sur-Touvre, and La Rochelle.
Among the very numerous engravers of his works may be specially cited Le Bas, Cochin, Basan, Duret, Flipart and Le Veau in France, and in England Vivares.
In Madrid, the Spanish capital, some of his paintings are found, in the Prado Museum, which holds five of his landscapes and at the Thyssen-Bornemisza Museum, who owns other two and a third as a loan from the Baroness Thyssen personal collection (Night: Mediterranean Coast Scene with Fishermen and Boats).
Gallery
Literary references
In Arthur Conan Doyle's short story "The Adventure of the Greek Interpreter", fictional detective Sherlock Holmes claims that his grandmother was the sister of the French artist "Vernet", without identifying any specific member of the family so that he could have been referring to Claude Joseph Vernet, Carle Vernet or Horace Vernet.
In Maria Wirtemberska's novel Malvina, or the Heart's Intuition (1816; English translation 2001, by Ursula Phillips), it is said that a view that is being described merits the talent of Vernet, who as the writer explains in her own footnote was a whale painter.
Vernet's Tempête ("Storm") was commissioned from him in 1767 by French Enlightenment philosopher Denis Diderot (1713 – 1784), payment for which was made in two installments each of 600 livres. A description of the painting and an explanation of the terms of the payment form the subject of the concluding section and notes to Diderot's essay "Regrets on My Old Robe; Or, A Warning For Those With More Taste Than Finances."
References
External links
66 artworks by or after Claude-Joseph Vernet at the Art UK site
Life and works of Vernet (Théodore Gégoux art gallery)
C. J. Vernet online (Artcyclopedia)
Claude-Louis Châtelet, a French painter, was born in Paris in 1753. He produced Swiss views, sea-pieces, and pastoral scenes in the style of Vernet. Examples of his work are in the Orléans Museum, the Palace at Fontainebleau, and the Cottier Collection. He embraced with ardour the cause of the Revolution, allied himself with Robespierre and the leaders of the Jacobins, and became a member of the Revolutionary Tribunal. He was arrested some months after the 9th Thermidor, tried, condemned, and executed in Paris, May 7, 1795.
References
This article incorporates text from a publication now in the public domain: Bryan, Michael (1886). "Chatelet, Claude Louis". In Graves, Robert Edmund (ed.). Bryan's Dictionary of Painters and Engravers (A–K). Vol. I (3rd ed.). London: George Bell & Sons.
Claudio Francesco Beaumont (4 July 1694 – 21 June 1766) was an Italian painter, active in a late baroque-style mostly in the Piedmont region.
Life
Beumont was born in Turin, and little is known of his early youth, besides that he was educated in grammar, rhetoric, architecture and mathematics in a Jesuit school. There is documentation of travel to Bologna, where he stayed from February to December 1716, and where he was likely influenced by the school of late seventeenth-century painter Cignani. In December of the same year he was in Rome, and a letter addressed to his brother documented that he was at the school of Francesco Trevisani, who would have a great influence on him. In Rome, he is said to have copied the works of Raphael, the Carracci, and Guido Reni, but showed little respect for the Roman painters of his own time, except for Trevisani, whose manner he imitated in the vigor of his tints. The reports of the ministers in Rome to the king of Sardinia proved that he enjoyed, even in that city, the protection of the sovereign. In the interval between the return to Turin in 1719 and his second Roman stay in 1723, Beaumont completed the decoration of an Aurora fresco on a ceiling of the second floor room in the Turin Royal Palace. In 1724 the king of Sardinia recommended him to Wleughels, director of the French Academy in Rome, who was passing through. In 1725 he was admitted to the Accademia di San Luca in Rome. In 1727 he received a grant of 2000 lire per year from the Savoy Monarchy, first step for the nomination as court painter, which took place in 1731. In 1727 a serious illness obliged him to pause in his artistic work, but he continued to be supported by the Piedmontese monarchy. This year Elena (now lost) was documented for the castle of Rivoli. The repertoire of Beaumont was formed in these years, taking advantage of the iconography that was dear to Trevisani, as is recognized by the subjects of Sofonisba executed according to the style of Maratta (first sent from Rome in 1729, in Palazzo Madama, Turin, up to 1800, and then in private collection).
In 1730 the King attempted to recall the painter to Turin, to help in a number of decorative projects. But Beaumont stayed in Rome to complete a Blessed Margaret and a San Carlo Borromeo Meets Plague Victims destined for the church of Superga. Together with a Deposition for Santa Croce in Turin, the paintings for Superga recall the style of Maratta that was prevailing in the Roman and Neapolitan churches, with references to Brandi, Conca and Trevisani. In July 1731 Beaumont was appointed a court painter. In 1736 the painter was made knight or Cavaliere of the order of the Saints Maurizio and Lazzaro. On 22 March 1737 the painter was sent to Venice to negotiate the purchase of paintings and here he made contact, most likely, with painters already active in the decoration of the Palazzo Reale, like Sebastiano Ricci and Giambattista Pittoni, who would influence the subsequent development of his style.
His fervent activity for Piedmontese castles included painting a San Giovanni Battista (1724-1725) and San Pietro for the palace of Rivoli. Beaumont also painted for the churches of Piedmont, including the altarpiece representing the Blessed of Chantal and San Francesco di Sales (1740) for the monastery of the Visitation of Pinerolo. In 1755 Beaumont began his Blessed Amedeo, the main altarpiece installed in 1769 in the church of the Carmine of Turin. Beaumont died at the age of 72 and is buried in the church of Santa Teresa on 22 June 1766.
Among his pupils are Vittorio Blanseri and Giovanni Molinari.
References
This article incorporates text from a publication now in the public domain: Bryan, Michael (1886). "Beaumont, Cavaliere Claudio". In Graves, Robert Edmund (ed.). Bryan's Dictionary of Painters and Engravers (A–K). Vol. I (3rd ed.). London: George Bell & Sons.
Further reading
Cifani, Arabella; Monetti, Franco (2007). "Contributi documentari per il pittore torinese Claudio Francesco Maria Beaumont (1694-1766)". Storia dell'arte (116-117 (n.s. 16-17)): 203–248.
Cornelis Pietersz Bega, or Cornelis Pietersz Begijn (1631/32 – 27 August 1664) was a Dutch Golden Age painter and engraver.
Bega was born, lived and worked in Haarlem and was the son of sculptor and goldsmith Pieter Jansz. Begijn. His mother Maria was the illegitimate daughter of the Haarlem painter Cornelis van Haarlem. He assumed the name Bega when he started working professionally. He was a student of Adriaen van Ostade, and produced genre scenes of similar subjects, typically groups of a few peasant figures, often in interior settings, or fanciful figures such as The Alchemist (Malibu) or The Astrologer (London).
From 1653 to 1654 he traveled by horse and boat on a Grand Tour with fellow painters Dirk Helmbreker, Vincent van der Vinne and Guillam Dubois through Germany, Switzerland and France. This trip was recorded in Vincent van der Vinne's diaries and gives an accurate view of the art in the cities they visited in those times. His dated works begin in 1652, and in 1654 he was accepted into the Haarlem Guild of St. Luke, dying only ten years later, which according to Houbraken was due to the plague. He was close friends with the Haarlem painter Leendert van der Cooghen. When he died he was buried in the grave of his grandfather Cornelis van Haarlem.
References
Neil MacLaren, Catalogue of the Dutch School, 1600–1900 (National Gallery (Great Britain)//National Gallery Catalogues) (Vol 1). London: National Gallery. ISBN 978-0-947645-99-1 (hardcover). ISBN 978-0-300-06137-6 (paperback, 1994).
Kornelis Bega biography in De groote schouburgh der Nederlantsche konstschilders en schilderessen (1718) by Arnold Houbraken, courtesy of the Digital library for Dutch literature. (in Dutch)