All the oil paintings of Francois Clouet

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ID	Image	Painting(From A to Z)	Details
64232
40393		A Lady in Her Bath	mk156 c.1571 Oil on panel 92.1x81.3cm
86383		Bad der Diana	Date between 1550(1550) and 1559(1559) Medium Oil on wood Dimensions 136 x 195 cm (53.5 x 76.8 in) cjr
97631		Deux Merveilleuses	Deux Merveilleuses Medium oil on canvas cyf
89296		Diane de Poitiers	1571(1571) Medium oil on wood cyf
58396		Diane de Poitiers by Francois Clouet at the National Gallery of Art, Washington DC.	Diane de Poitiers by François Clouet (1571) at the National Gallery of Art, Washington DC.
422		Diane de Potiers	1571 The National Gallery of Art, Washington DC
58397		Elisabeth of Austria by Francois Clouet	Elisabeth of Austria by François Clouet (1571) (Louvre).
86959		Elisabeth of Austria, Queen of France, daughter of Holy Roman Emperor Maximilian II. of Austria and Infanta Maria of Spain, wife of King Charles Charl	Date c. 1571(1571) Medium Oil on oak panel Dimensions 36 x 26 cm (14.2 x 10.2 in) cjr
88245		Elisabeth of Austria, Queen of France, daughter of Holy Roman Emperor Maximilian II. of Austria and Infanta Maria of Spain, wife of King Charles Charl	c. 1571(1571) Medium Oil on oak panel Dimensions 36 x 26 cm (14.2 x 10.2 in) cjr
20195		Elisabeth of Austria,queen of France (mk05)	Wood,14 1/4 x 10 1/4''(36 x 26 cm).Formerly in the collections of Roger de Gaignieres and Louis XV;entered the Louvre in 1817
45853		Franz i from France to horse	mk178 around 1540 oils on linen 27x22cm
98102		Guy XVII	circa 1540(1540) Medium oil on panel Dimensions 12.75 x 9.625 in cyf
64239		henri11	1550 paris. louvre
33547		Lady in her Bath	mk86 c.1570 Oil on wood 92x81cm Washington,National Gallery of Art
21419		Lady in her Bath (mk08)	c.1570 Oil on wood,92x81cm Washington,National Gallery of Art
93322		Marguerite de Valois, reine de Navarre	16th century Medium oil on panel Dimensions 29 x 22.5 cm (11.4 x 8.9 in) cjr
74936		Mary, Queen of Scots	c. 1559 oil on wood (oak) 31.7 X 23.5 cm (12.48 X 9.25 in) cjr
88992		Pierre Quthe	1562(1562) Medium oil on wood cyf
20970		Pierre Quthe (mk05)	1562 Wood 36 x 27 1/2''(91 x 70 cm)Given in 1908 INV 1719 (S/AR)
424		Pierre Quthe : An Apothecary	1562 Musee du Louvre, Paris
86100		Portrait of a man	Date 16th century Medium Oil on panel Dimensions 26 x 21 cm (10.2 x 8.3 in) cjr
64234		portrait of a young girl, c	1560 lille, museum
79900		Portrait of Charles IX of France	16th century cjr
83416		Portrait of Charles IX of France	16th century Medium Oil cyf
83687		Portrait of Charles IX of France	16th century Medium Oil cyf
30496		Portrait of Francis I on Horseback	mk68 Oil on canvas 10 3/4x8 3/4 Florence,Uffizi c.1540 France
23274		Portrait of Francois (nn03	c 1540 Oil on panel 27 x 22 cm 10.6 x 8.7 in Galleria degli Uffizi Florence
423		Portrait of Francois I on Horseback	c1540
88996		Portrait of King Charles IX	1561(1561) Medium Oil on wood cyf
97604		Portrait of King Charles IX of France	1561(1561) Medium oil on panel cyf
32574		Recreation by our Gallery	mk79 About 1550-1560
425		The Bath of Diana

Francois Clouet
1510-1572 French Francois Clouet Locations The earliest reference to him is a document dated December 1541 (see Jean Clouet), in which the king renounces for the benefit of François his father estate, which had escheated to the crown as the estate of a foreigner. In this document, the younger Clouet is said to have followed his father very closely in his art. Like his father, he held the office of groom of the chamber and painter in ordinary to the king, and so far as salary is concerned, he started where his father left off. Many drawings are attributed to this artist, often without perfect certainty. There is, however, more to go upon than there is in the case of his father. As the praises of Francois Clouet were sung by the writers of the day, his name was carefully preserved from reign to reign, and there is an ancient and unbroken tradition in the attribution of many of his pictures. There are not, however, any original attestations of his works, nor are any documents known which would guarantee the ascriptions usually accepted. To him are attributed the portraits of Francis I at the Uffizi and at the Louvre, and various drawings relating to them. He probably also painted the portrait of Catherine de Medici at Versailles and other works, and in all probability a large number of the drawings ascribed to him were from his hand. One of his most remarkable portraits is that of Mary, queen of Scots, a drawing in chalks in the Bibliotheque Nationale, and of similar character are the two portraits of Charles IX and the one at Chantilly of Marguerite of France. Perhaps his masterpiece is the portrait of Elizabeth of Austria in the Louvre. This piece made an important impression on Claude Levi-Strauss. In particular it helped inspire his theory of the mod??le reduit, or of works of art as simplifications and scale models of the realities they represent, and other theories of artworks, in his book The Savage Mind. Clouet resided in Paris in the rue de Ste Avoye in the Temple quarter, close to the Hotel de Guise, and in 1568 is known to have been under the patronage of Claude Gouffier de Boisy, Seigneur d Oiron, and his wife Claude de Baune. Another ascertained fact concerning Francois Clouet is that in 1571 he was summoned to the office of the Court of the Mint, and his opinion was taken on the likeness to the king of a portrait struck by the mint. He prepared the death-mask of Henry II, as in 1547 he had taken a similar mask of the face and hands of Francis I., in order that the effigy to be used at the funeral might be prepared from his drawings; and on each of these occasions he executed the painting to be used in the decorations of the church and the banners for the great ceremony. Several miniatures are believed to be his work, one very remarkable portrait being the half-length figure of Henry II in the collection of J. Pierpont Morgan. Another of his portraits is that of Francois, duc d Alençon in the Jones collection at South Kensington, and certain representations of members of the royal family which were in the Hamilton Palace collection and the Magniac sale are usually ascribed to him. He died on the 22nd of December 1572, shortly after the massacre of St Bartholomew, and his will, mentioning his sister and his two illegitimate daughters, and dealing with the disposition of a considerable amount of property, is still in existence. His daughters subsequently became nuns. His work is remarkable for the extreme accuracy of the drawing, the elaborate finish of all the details, and the exquisite completeness of the whole portrait. He must have been a man of high intelligence, and of great penetration, intensely interested in his work, and with considerable ability to represent the character of his sitter in his portraits. His coloring is perhaps not specially remarkable, nor from the point of style can his pictures be considered especially beautiful, but in perfection of drawing he has hardly any equal.