François-Louis Dejuinne (1786–1844) was a French painter. He was born in Paris in 1786, and learned the art of painting under Girodet. He visited Rome, where he studied the works of Titian, Paolo Veronese, and other great masters. He died in Paris in 1844. His paintings were mostly historical; among them are the 'Ascension of the Virgin ' and 'St. Geneviève' for Notre-Dame de Lorette, and 'The Four Seasons' for the Trianon Palace. More on François-Louis Dejuinne
Pierre-Louis Delaval (1818)
"Sainte Clotilde urging Clovis before the battle"
Chapelle Sainte-Geneviève
Geneviève became his trusted counsellor. Clovis entered a harsh battle and promised to be baptized, if he should win. He won and under the influence of Geneviève, he converted in 496. His people and servants followed suit.
Pierre-Louis Delaval, born April 27, 1790 in Paris where he died around 1870, is a French painter.
A pupil of Girodet-Trioson , Delaval began at the Salon of 1810 with two historical pictures which had him included in the small number of artists exempted from conscription by imperial decree. A compliant imitator of his master in his early days, he showed, in the second half of his career, the qualities of colorist and draftsman who could have classified him among the masters if they had been developed by a more vigorous temperament.
Delaval painted mainly history and religious subjects. The historical galleries of Versailles also owe him many portraits. He obtained a second medal in 1817. More on Pierre-Louis Delaval
Master of Saint Giles (d. 511)
The Baptism of Clovis, c. 1500
Wood
National Gallery of Art, Washington
This was painted about a thousand years after Saint Rémy baptized the Frankish King Clovis, thereby converting him to Christianity. Master of Saint Giles has transferred the historic event from Reims to the interior of the Sainte-Chapelle in Paris, thus providing the earliest known record of the interior of the famous, still extant, building.
The Master of Saint Giles was a Franco-Flemish painter active, probably in Paris, about 1500, working in a delicate Late Gothic manner, with rendering of textures and light and faithful depictions of actual interiors that show his affinities with Netherlandish painting. It is not clear whether the Master of Saint Giles was a French painter who trained in the Low Countries, or a Netherlander who emigrated to France.
His pseudonym was given him by Max Friedländer, who reconstructed part of the anonymous painter's oeuvre, starting from two panels that were part of the lefthand shutter of an altarpiece, and two further panels, now in Washington, from the same altarpiece. The hand of an assistant can be discerned in the Baptism of Clovis at the National Gallery of Art, Washington. All four panels have, or had, single grisaille figures of saints (Saints Peter, Giles, Denis and an unidentified bishop-saint) in niches, imitating sculpture, on the reverse. The Washington pair, which were in poor condition, have been separated and are lost, although photographs exist. Undoubtedly there were further panels, whose subjects cannot be guessed, as the combination of scenes is original. More on The Master of Saint Giles
Antoine-Jean Gros (1771–1835)
Clovis et Clotilde, c. 1811
Oil on canvas
Petit Palais
Antoine-Jean Gros (16 March 1771 – 25 June 1835) was a French painter of historical subjects. He was given title of Baron Gros in 1824.
Gros studied under Jacques-Louis David in Paris and began an independent artistic career during the French Revolution. Forced to leave France, Gros moved to Genoa. His portrait of the French commander Napoleon Bonaparte at the Battle of Arcole (1796) brought Gros to public attention and gained the patronage of Napoleon.
After traveling with Napoleon's army for several years, he returned to Paris in 1799. In addition to producing several large paintings of battles and other events in Napoleon's life, Gros was a successful portraitist. More on Antoine-Jean Gros
By the time she died King Clovis of the Franks had grown to venerate the saint. It was at Geneviève's suggestion that Clovis began to build the church of SS. Peter and Paul in the middle of Paris, where they interred her body. Later the church was renamed Sainte Geneviève and it was rebuilt in 1746.
Church of St. Genevieve, Paris
Miracles performed at her tomb made her and the Church famous all over France:
Gabriel François Dean, (1726–1806)
Miracles of the Ardents, c. 1773
Church of St Genevieve at St Roch
Miracle des Ardens or burning fever (ergot-poisoning) in 1129. Bishop Stephen of Paris had her shrine carried through the streets in solemn procession. Many thousands of the sick who saw or touched the shrine were immediately cured, and only several deaths from the plague were said to have occurred thereafter.
Gabriel François Doyen (1726 – 5 June 1806) was a French painter, who was born at Paris.
He became an artist against his father's wishes, becoming a pupil at the age of twelve of Charles-André van Loo. Making rapid progress, he obtained at twenty the Grand Prix de Rome, and in 1748 set out for Rome, then visited Naples, Bologna and, crucially, Venice. While in the latter city Doyen was greatly influenced by the work of the famous colourists, such as Titian.
In 1755 he returned to Paris and, at first unappreciated and disparaged, he resolved by one grand effort to achieve a reputation, and in 1758 he exhibited his Death of Virginia. It was completely successful, and procured him admission to the Académie Royale de Peinture et de Sculpture. Doyen was also influenced by Peter Paul Rubens after a visit to Antwerp. This influence is, perhaps, best displayed in his Le Miracle des ardents, painted for the church of St Genevieve at St Roch (1767). This painting was exhibited in the salon of 1767. In 1776 he was appointed professor at the Academy.
During the initial stages of the French Revolution he became active in the national museum project; however in 1791 he left France for Russia on the invitation of Catherine II of Russia. He settled in St Petersburg, where he was much honoured by the Imperial family and Russian art establishment. He died there on 5 June 1806. More on Gabriel François Doyen
Maurice Quentin de La Tour
Portrait of King Louis XV, c. 1748
Pastel
64x54
Louvre Museum
In 1741, Louis XV came to her church to thank her for a cure wrought at her intercession.
Maurice-Quentin de La Tour, (born Sept. 5, 1704, Saint-Quentin, France—died Feb. 17, 1788, Saint-Quentin), pastelist whose animated and sharply characterized portraits made him one of the most successful and imitated portraitists of 18th-century France.
Early in his youth La Tour went to Paris, where he entered the studio of the Flemish painter Jacques Spoede. He then went to Reims, Cambrai (1724), and England (c. 1725), returning to Paris to resume his studies in about 1727.
In 1737 La Tour exhibited the first of a splendid series of 150 portraits that formed one of the glories of the Salon for the next 37 years. He was able to endow his sitters with a distinctive air of charm and intelligence, and he excelled at capturing the delicate play of facial features. In 1746 he was received into the Academy and in 1751 was promoted to councillor. La Tour was made portraitist to the king in 1750, a position he held until 1773. La Tour retired at age 80 to Saint-Quentin. More on Maurice-Quentin de La Tour
Jean-Pierre Houël, (1735–1813)
Prise de la Bastille/ The Storming of the Bastille, c. 1789
In the center is the arrest of Bernard René Jourdan, governor of the Bastille, and his wife
Watercolor
Height: 50.5 cm (19.8 ″); Width: 37.8 cm (14.8 ″)
Bibliothèque nationale de France
When the Bastille was taken, people again came to thank her. In 1790, the Commune went to her church for Mass.
Jean-Pierre-Louis-Laurent Houël (28 June 1735 – 14 November 1813) was a French painter, engraver and draftsman. During his long life Houël witnessed the reign of Louis XV, the French Revolution, and the period of Napoleon's First Empire.
He was born at Rouen into a family of prosperous artisans, who sent him to the city's drawing academy when he was fifteen.
He was exposed to the art of early Dutch and Flemish painters, which was to have a defining impact on his chosen specialty of landscape painting. In 1758 Houël published a book of landscape engravings, and in 1768 he painted six views of the Duc de Choiseul's country estate, the Château de Chanteloup. The following year his influential patrons secured a place for him at the French Academy in Rome. Here, captivated with Italian customs, landscapes, and ancient sites, he traveled throughout southern Italy, making gouache drawings, which he presented at the Paris Salons of the early 1770s, exhibits that drew the attention of a wide public.
He spent the years 1776 to 1779 traveling in Sicily, Lipari, and Malta, after which, based on his journey, he published a series of four volumes of lavishly illustrated travel books (1782–1787). Houël's main intention was to illustrate local topography, but his delicate applications of watercolor also magnificently captured the effects of light and atmosphere. To help finance these projects, he sold his preliminary drawings in Paris in 1780. Louis XVI purchased 46, and Catherine II of Russia, more than 500, of which 260 are preserved at the Hermitage Museum in St. Petersburg.
In his later years Houël published two illustrated treatises on elephants. Drawings of other animals suggest he was preparing to publish further zoological works; however, his death at the age of seventy-eight cut short his plans. More on Jean-Pierre-Louis-Laurent Houël
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