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The Nativity
Philippe de Champaigne11.jpg
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The_Nativity
1643
Musee des Beaux Arts, Lille
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Jean Baptiste Colbert
Philippe de Champaigne12.jpg
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Jean_Baptiste_Colbert
Metropolitan Museum of Art, New York
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The Marriage of the Virgin
CERUTI, Giacomo10.jpg
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The_Marriage_of_the_Virgin
c. 1644
Oil on panel, 71,5 x 143,5 cm
Wallace Collection, London
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Portrait of a Man (mk05)
new6/Philippe de Champaigne-423689.jpg
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Portrait_of_a_Man_(mk05)
Canvas 36 x 28 1/4''(91 x 72 cm)Acquired in 1806
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The Dead Christ (mk05)
new6/Philippe de Champaigne-822752.jpg
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The_Dead_Christ_(mk05)
Wood 27 x 77 1/2''(68 x 197 cm)Painted for the Abbey of Port-Royal des Champs Transferred to Port-Royal in Paris in 1710;seized in the Revolution INV
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Philippe_de_Champaigne
1602-1674
Philippe de Champaigne Locations
His artistic style was varied: far from being limited to the realism traditionally associated with Flemish painters, it developed from late Mannerism to the powerful lyricism of the Baroque. It was influenced as much by Rubens as by Vouet, culminating in an aesthetic vision of the world and of humanity that was based on an analytic view of appearances and on psychological truth. He was perhaps the greatest portrait painter of 17th-century France. At the same time he was one of the principal instigators of the Classical tendency and a founder-member of the Acadmie Royale de Peinture et de Sculpture. His growing commitment to the Jansenist religious movement (see JANSENISM) and the severe plainness of the works that it inspired has led to his being sometimes considered to typify Jansenist thinking, with its iconoclastic impulse, in spite of the opposing evidence of his other paintings. He should be seen as an example of the successful integration of foreign elements into French culture and as the representative of the most intellectual current of French painting.
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