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The Nativity
new19/Philippe de Champaigne-325367.jpg
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The_Nativity
nn09
1643
OIl on canvas
207x116cm
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A portrait of a man
new20/Philippe de Champaigne-552298.jpg
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A_portrait_of_a_man
mk255 for in 1650. Canvas 0.91 x 0.72 meters high. Paris, the Louvre
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little girl with falcon
new22/Philippe de Champaigne-884695.jpg
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little_girl_with_falcon
1628
paris, louvre
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Ecce Homo
new23/Philippe de Champaigne-659359.jpg
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Ecce_Homo
Description Ecce Homo
Date XVIIe siecle
Source/Photographer Huile sur toile
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eccehomo
new24/Philippe de Champaigne-978793.jpg
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eccehomo
Description Ecce Homo
Date XVIIe siecle
Source/Photographer Huile sur toile
Permission
(Reusing this file) See below.
cyf
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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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