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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Philippe de Champaigne The Miracles of the Penitent St Mary (mk05) oil painting


The Miracles of the Penitent St Mary (mk05)
Canvas 86 1/4 x 132 1/4''(219 x 336 cm)Painted in 1656 for the apartment of Anne of Austria in the Val-de-Grace Paris Seized in the Revolution INV
Painting ID::  20623 		Philippe de Champaigne
The Miracles of the Penitent St Mary (mk05)
Canvas 86 1/4 x 132 1/4''(219 x 336 cm)Painted in 1656 for the apartment of Anne of Austria in the Val-de-Grace Paris Seized in the Revolution INV
   
   
     
Philippe de Champaigne Portrait of Robert Arnauld d'Andilly (mk05) oil painting


Portrait of Robert Arnauld d'Andilly (mk05)
Canvas 31 x 25 1/2(79 x 65 cm)Given in 1979
Painting ID::  20624 		Philippe de Champaigne
Portrait of Robert Arnauld d'Andilly (mk05)
Canvas 31 x 25 1/2(79 x 65 cm)Given in 1979
   
   
     
Philippe de Champaigne Cardinal Richelieu (mk05) oil painting


Cardinal Richelieu (mk05)
Canvas,87 1/2 x 100 1/2''(222 x 255 cm)Collection of the Duc de Penthievre at the Hotel de Toulouse,Paris;seized in the Revolution INV
Painting ID::  20625 		Philippe de Champaigne
Cardinal Richelieu (mk05)
Canvas,87 1/2 x 100 1/2''(222 x 255 cm)Collection of the Duc de Penthievre at the Hotel de Toulouse,Paris;seized in the Revolution INV
   
   
     
Philippe de Champaigne La Petite Cene (The Last Supper) (san 05) oil painting


La Petite Cene (The Last Supper) (san 05)
Canvas 31 1/2 x 58 1/2''(80 x 149 cm)Collection of Louis XVI;acquired by the Louvre in 1777 INV 1125 (MN)
Painting ID::  20951 		Philippe de Champaigne
La Petite Cene (The Last Supper) (san 05)
Canvas 31 1/2 x 58 1/2''(80 x 149 cm)Collection of Louis XVI;acquired by the Louvre in 1777 INV 1125 (MN)
   
   
     
Philippe de Champaigne Ex Voto (mk08) oil painting


Ex Voto (mk08)
1662 Oil on canvas, 165x229cm Paris,Musee National du Louvre
Painting ID::  21585 		Philippe de Champaigne
Ex Voto (mk08)
1662 Oil on canvas, 165x229cm Paris,Musee National du Louvre
   
   
     
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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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