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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... |
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.... |
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... |
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 Els... |
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 composi... |
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 Visi... |
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 t... |
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 charact... |
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... |
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 mad... |
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 ... |
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 osc... |
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 comm... |
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 ... |
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 prev... |
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 ... |
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 not... |
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 himsel... |
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 se... |
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 Supe... |
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 Visitati... |
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 gen... |
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 time... |
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) |
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