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Portrait of a Gentleman around 1680 - attributed to Pierre Mignard (1612-1695)
Portrait of a Gentleman around 1680 - attributed to Pierre Mignard (1612-1695)  - Paintings & Drawings Style Louis XIV Portrait of a Gentleman around 1680 - attributed to Pierre Mignard (1612-1695)  - Portrait of a Gentleman around 1680 - attributed to Pierre Mignard (1612-1695)  - Louis XIV Antiquités - Portrait of a Gentleman around 1680 - attributed to Pierre Mignard (1612-1695)
Ref : 77192
SOLD
Period :
17th century
Provenance :
France
Medium :
Oil on canvas
Dimensions :
L. 35.43 inch X l. 29.92 inch
Paintings & Drawings  - Portrait of a Gentleman around 1680 - attributed to Pierre Mignard (1612-1695) 17th century - Portrait of a Gentleman around 1680 - attributed to Pierre Mignard (1612-1695) Louis XIV - Portrait of a Gentleman around 1680 - attributed to Pierre Mignard (1612-1695) Antiquités - Portrait of a Gentleman around 1680 - attributed to Pierre Mignard (1612-1695)
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Ancient paintings


+33 (0)6 62 09 89 00
+33 (0)6 62 09 89 00
Portrait of a Gentleman around 1680 - attributed to Pierre Mignard (1612-1695)

French School circa 1680 attributed to Pierre Mignard (1612-1695) -Portrait of a Gentleman

Canvas of 74 cm by 62 cm
Beautiful old frame of 90 cm by 76 cm

Pierre Mignard (1612-1695)

First of all for medicine, Pierre Mignard entered in 1624 in the studio of the painter Jean Boucher in Bourges. Back in Troyes, he worked for a sculptor named François Gentil before leaving for Fontainebleau - capital of the arts of the time - where he studied Primatice, Rosso Fiorentino and Martin Fréminet. He paints the chapel of the castle of Coubert-en-Brie for the marshal of Vitry who takes him under his protection and takes him to Paris where he becomes the pupil of Simon Vouet, and meets Charles Le Brun2, Eustache Le Sueur and Charles -Alphonse Du Fresnoy with whom he binds himself. In 1635 he left for Rome where he met Nicolas Poussin, perhaps the painter Sassoferrato and Anna Avolara, daughter of an architect, whom he falls in love with but will marry only in 1660 following obstacles various. Became famous in Rome, he is naturally remembered in France by Louis XIV in 1657. On the way to Paris, he meets Molière in Avignon with his brother Nicolas Mignard, whose wife had inherited one of the main games of palm. Avignon where the passing troops played. The two men became friends and Mignard began by painting a portrait of Molière intimate (Molière, circa 1658, Chantilly, musée Conde3), a spirit far removed from the one his brother Nicolas had painted some time before (Molière (1622-1673) in the role of Caesar, in "The Death of Pompey", tragedy of Corneille, 1656, Paris, Musée Carnavalet4). For his part, in 1669, Molière composed The Glory of Val-de-Grace, a praise in verse of the masterpiece of Mignard, The Glory of the Blessed, fresco decorating the dome of the church of Val-de-Grace in Paris, commissioned in 1663 by Anne of Austria for 35,000 livres. Mignard will keep all his life his friendship Armande Béjart, widow of Molière. Mignard shares his career between portraiture - especially with the aristocratic society of the kingdom - and large decorative compositions. He will paint in particular at the Palace of Versailles. His masterpiece, besides the Val-de-Grace, is the painted ceiling of the gallery of the castle of Saint-Cloud for Monsieur, brother of Louis XIV, completed before the gallery of mirrors of Versailles. Mignard was responsible for the decoration of the chapel of the Baptism of the Church Saint-Eustache of Paris (1667-1670). These paintings were the counterpart of those of his rival Charles de la Fosse in the Chapel of Weddings. These paintings were destroyed during the construction of the new portal. In June 1687, he was ennobled by the king who, in 1690 - at the death of Charles Le Brun - named him his first painter, in fact the director of the royal manufactures and made him enter the Royal Academy of painting and sculpture at the Director's position. He remains one of the most famous French classical painters: a friend of the beautiful minds of his time (besides Molière, let us quote La Fontaine, Racine or Boileau), we owe him portraits of Bossuet, Jacques de Cordon d'Evieu, the princess Palatine the Duchesse de Chatillon, the Countess de Fiesque, Julie d'Angennes, Mlle de Montpensier, Mlle de Valois and the Grand Duchess of Tuscany, Mme de la Sabliere, the Duchesse de Brissac, the Duchesse de Ventadour, Madame de Montespan, Madame de Maintenon, Mademoiselle de La Valliere, Madame de Sevigne, Mademoiselle de Grignan, Mademoiselle de Fontanges and Madame de Tencin. He has also painted Louis XIV ten times.

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CATALOGUE

17th Century Oil Painting Louis XIV