Jacques Blanchard
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kaveryВчера , листая альбом об искусстве Франции 17 века натолкнулась на репродукцию вот этой картины. Очень понравилось лицо.
Allegory of Charity (Аллегория милосердия) (фрагмент, цедиком картина под катом)
1636-37
Oil on canvas, 108 x 138 cm
Toledo Museum of Art, Toledo, Ohio
Jacques Blanchard
[French Baroque Era Painter, 1600-1638]
Св. Сисилия.
LA SAINTE FAMILLE AVEC SAINTE ELISABETH ET LE PETIT SAINT JEAN BAPTISTE A QUI L'ENFANT DONNE UNE CROIX DE ROSEAU
Santa Vernica (Св. Вероника)
Мадонна
Suzanna and the elders (Сусанна и старцы)
Venus and the Three Graces Surprised by a Mortal (Венера и Грации, застигнутые простым смертным)
Jacques Blanchard's style is a very attractive combination of a completely French, late-Mannerist formation and the influences from an Italian sojourn in 1624-1628, especially from Venetian painting. Traditionally called the "French Titian," although really more indebted to Paolo Veronese, Blanchard tended to infuse relatively simple, classicizing constructions and figure types with a soft luminosity, loose paint handling, and sensuous appeal. Although a bit formulaic and lacking in intellectual rigor, his works anticipate some basic concerns and conventions of later French academic painting, from Charles Le Brun through William-Adolphe Bouguereau.
Allegory of Charity (Аллегория милосердия) (фрагмент, цедиком картина под катом)
1636-37
Oil on canvas, 108 x 138 cm
Toledo Museum of Art, Toledo, Ohio
Jacques Blanchard
[French Baroque Era Painter, 1600-1638]
Св. Сисилия.
LA SAINTE FAMILLE AVEC SAINTE ELISABETH ET LE PETIT SAINT JEAN BAPTISTE A QUI L'ENFANT DONNE UNE CROIX DE ROSEAU
Santa Vernica (Св. Вероника)
Мадонна
Suzanna and the elders (Сусанна и старцы)
Venus and the Three Graces Surprised by a Mortal (Венера и Грации, застигнутые простым смертным)
Jacques Blanchard's style is a very attractive combination of a completely French, late-Mannerist formation and the influences from an Italian sojourn in 1624-1628, especially from Venetian painting. Traditionally called the "French Titian," although really more indebted to Paolo Veronese, Blanchard tended to infuse relatively simple, classicizing constructions and figure types with a soft luminosity, loose paint handling, and sensuous appeal. Although a bit formulaic and lacking in intellectual rigor, his works anticipate some basic concerns and conventions of later French academic painting, from Charles Le Brun through William-Adolphe Bouguereau.
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