Toutes peintures à l'huile d'CERUTI, Giacomo

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5992

Annunciation klj

c. 1644 Oil on canvas, 74,3 x 54,6 cm Ferens Art Gallery, Hull

28923

Boy with a Basket of Fish

mk65 Oil on canvas 22 1/16x28 3/4in Pitti,

5988

Boy with a Basket

c. 1745 Oil on canvas, 130 x 95 cm Pinacoteca di Brera, Milan

6004

Cardinal Richelieu mjkh

c. 1637 OiI on canvas, 260 x 178 cm National Gallery, London

5989

Evening at the Piazza jj

c. 1730 Oil on canvas, 210 x 298 cm Museo Civico d'Arte Antica, Palazzo Madama, Turin

5993

Ex Voto

1662 Oil on canvas, 165 x 229 cm Mus??e du Louvre, Paris

5995

King Louis XIII kj

1655 Oil on canvas, 108 x 86 cm Museo del Prado, Madrid

6001

Portrait of a Man kjg

1650 Oil on canvas, 91 x 72 cm Mus??e du Louvre, Paris

6000

Portrait of Bishop Jean-Pierre Camus ,mnk

1643 Oil on canvas, 73,2 x 59,4 cm Museum voor Schone Kunsten, Ghent

5994

Portrait of Henri Groulart klh

1654 Oil on canvas, 92,5 x 75,5 cm Museum of Fine Arts, Budapest

5999

Portrait of Omer Talon jbhj

1649 Oil on canvas, 225 x 161,6 cm National Gallery of Art, Washington

6002

Portrait of Robert Arnauld d'Andilly lkhk

1667 Oil on canvas, 78 x 64 cm Mus??e du Louvre, Paris

6007

Still-Life with a Skull jg

Oil on panel, 28 x 37 cm Mus??e de Tess??, Le Mans

51219

Still-Life with Hen, Onion and Pot

1750s Oil on canvas

45523

Style life with Salami

mk186 around 1750 Milans, Pinacoteca di Brera

5991

The Annunciation kljk

Apart from Vouet, Champaigne was the most important painter active in Paris in the middle years of the 17th century. He was born and trained in Brussels. He arrived in Paris in 1621. Throughout his career he made many official commissions, for monasteries, for the Church, and for Louis XIII. He collaborated with Nicolas Poussin in decorating the Luxembourg Palace, then worked for the queen mother, Marie de Medicis, for Louis XIII, and after 1635 primarily for the king's chief minister, Cardinal Armand Richelieu, for whom he decorated the Palais Royal, the dome of the Sorbonne, and other buildings. His art has not been studied in depth until recently, and has undergone radical reassessment: instead of being seen as an exponent of dry Classicism, he is now seen to epitomize the whole epoch. As a portraitist, his vivid depictions of Cardinal Richelieu show how he was able to seize on the essential characteristics of the autocrat, while his portraits of other, now unidentifiable contemporaries are much more sympathetic. In the first part of his career, as a painter of religious pictures, he executed a number of large altarpieces that shows his Flemish origin. This is especially true of such Rubens-inspired works as the Adoration of the Shepherds in the Wallace Collection, London. Later in life, Champaigne changed his art dramatically when he came under the influence of the Jansenist movement. His paralysed daughter was miraculously cured in the Jansenist nunnery of Port-Royal, and to mark the event Champaigne painted his celebrated but untypical Ex-Voto (Louvre, Paris). Champaigne's art was much more varied than is usually thought, and his achievement spans almost fifty years, from the mid-1620s to his death in 1674. He was one of the fourteen founder-members of the Academy in 1648.

5998

The Miracles of the Penitent St Mary jhj

1656 Oil on canvas, 219 x 336 cm Mus??e du Louvre, Paris

5996

The Penitent Magdalen jgh

Oil on canvas, 115,5 x 87 cm Museum of Fine Arts, Houston

6003

The Presentation of the Temple kjgj

1648 Oil on canvas, 257 x 197 cm Mus??es Royaux des Beaux-Arts, Brussels

6006

The Supper at Emmaus khk

Oil on canvas, 217 x 226 cm Museum voor Schone Kunsten, Ghent

6005

Triple Portrait of Richelieu kjj

c. 1640 Oil on canvas, 58 x 72 cm National Gallery, London

CERUTI, Giacomo

Italian Painter, 1698-1767 Italian painter. He was one of a group of artists working in Bergamo and Brescia who observed reality with an unusual freshness and directness. He painted religious subjects and portraits but was most distinguished as a painter of genre and low-life scenes. These included many pictures of beggars and vagabonds ( pitocchi), hence his nickname 'il Pitocchetto'. He married in Milan in 1717 but settled in Brescia in 1721. In 1723 he received a horse in payment for three altarpieces and four frescoes for the parish church of Rino di Sonico; they were mediocre works executed in an unadventurous blend of Lombard and Venetian traditions derived from contemporary Venetian painters working in Brescia. Ceruti's early portraits and genre scenes are less conventional and more intensely felt; in 1724 he signed and dated the strikingly naturalistic portrait of Giovanni Maria Fenaroli

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