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 Portrait of Rabelais-French School of the late eighteenth century
 Portrait of Rabelais-French School of the late eighteenth century - Paintings & Drawings Style Transition  Portrait of Rabelais-French School of the late eighteenth century -  Portrait of Rabelais-French School of the late eighteenth century - Transition
Ref : 75193
2 850 €
Period :
18th century
Provenance :
Private collection
Medium :
Oil on canvas
Dimensions :
L. 41.34 inch X l. 32.28 inch
Paintings & Drawings  -  Portrait of Rabelais-French School of the late eighteenth century 18th century -  Portrait of Rabelais-French School of the late eighteenth century Transition -  Portrait of Rabelais-French School of the late eighteenth century
Galerie PhC

Ancient paintings


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+33 (0)6 62 09 89 00
Portrait of Rabelais-French School of the late eighteenth century

Our portrait of the famous author of Pantagruel and Gargantua is certainly a reproduction of a painting painted in the 17th century. It is beautifully highlighted by a Florentine style frame carved and gilded.

Canvas 64 cm by 54 cm
Frame of 105 cm by 82 cm

François Rabelais (1483-1553)

François Rabelais (also known as Alcofribas Nasier, anagram of François Rabelais, or even as Séraphin Calobarsy) is a French humanist writer of the Renaissance, born at La Devinière in Seuilly, near Chinon (in the ancient province of Touraine), in 1483 or 1494 according to the sources, and died in Paris on April 9, 1553.
Ecclesiastic and anticlerical, Christian and considered by some as a free thinker, doctor and having the image of a good living, the many facets of his personality sometimes seem contradictory. Taken in the religious and political turmoil of the Reformation, Rabelais is both sensitive and critical of the major issues of his time. Subsequently, the looks of his life and his work evolved according to the times and currents of thought.
Admirer of Erasmus, handling parody and satire, Rabelais fights for tolerance, peace, an evangelical faith and the return to knowledge of Greco-Roman antiquity, beyond these "Gothic darkness" which according to him characterize the Middle Ages, taking Plato's theses to counter the drifts of Aristotelianism. He attacks the abuses of princes and men of the Church, and opposes them on the one hand the humanistic evangelical thought, on the other hand popular culture, bawdy, "laughing", marked by the taste of wine and wines. games, thus manifesting a humble and open Christian faith, far from any ecclesiastical weight.

His indictment of the theologians of the Sorbonne and his raw, sometimes obscene, expressions attracted the wrath of the censorship of religious authorities, especially from the publication of the Third Book. He shared with Protestantism the criticism of scholasticism and monasticism, but the religious reformer Jean Calvin also attacked him in 1550.
His major works, such as Pantagruel (1532) and Gargantua (1534), which are both chronicles, tales with their characters of giants, the hero-comic parody, the epic and the romance of chivalry, but which also prefigure the realistic, satirical and philosophical novel, are considered as one of the first forms of the modern novel

Galerie PhC

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18th Century Oil Painting Transition