All VIGNON, Claude's oil paintings
ID Image  Oil Pantings, Sorted from A to Z     Other Information
9645  
VIGNON, Claude, Croesus Receiving Tribute from a Lydian Peasant et
  		Croesus Receiving Tribute from a Lydian Peasant et 1629 Oil on canvas, 105 x 149 cm Mus??e des Beaux-Arts, Tours
29653  
VIGNON, Claude, Esther before Ahasuerus
  		Esther before Ahasuerus 1624 Oil on canvas, 80 x 119 cm
78167  
VIGNON, Claude, Portrait of Francois Langlois
  		Portrait of Francois Langlois Date c. 1621 Medium Oil on canvas Dimensions 80 x 67 cm (31.5 x 26.4 in) cyf
20368  
VIGNON, Claude, rThe Young Singer (mk05)
  		rThe Young Singer (mk05) 37 1/2 x 35 1/2''(95 x 90 cm).Given in 1966 R.F
54052  
VIGNON, Claude, The Hills at Triel
  		The Hills at Triel mk235 c.1881 Oil on canvas 46.4x55.4cm
9646  
VIGNON, Claude, The Young Singer et
  		The Young Singer et 1622-23 Oil on canvas, 95 x 90 cm Mus??e du Louvre, Paris
VIGNON, Claude
French Baroque Era Painter, 1593-1670 French painter, printmaker and illustrator. Born into a prosperous family in Tours, he received his early training in Paris, probably in Jacob Bunel's studio. In 1609-10 he travelled to Rome; although his presence there is recorded only in 1618-20, he was probably based there throughout that decade, becoming a member of the community of young French artists that included Simon Vouet and Valentin de Boullogne. They were all predominantly influenced by the art of Caravaggio and of his most direct follower Bartolomeo Manfredi. Vignon's severe half-length figures (St Paul, Turin, Gal. Sabauda; Four Church Fathers, on loan to Cambridge, Fitzwilliam), executed possibly even earlier than 1615, are in a Caravaggesque style, as are his paintings of singers, musicians and drinkers (e.g. the Young Singer, Paris, Louvre), although the latter group owes more to the style of contemporary genre painting. However, Vignon was already showing an interest in new artistic experiments, the origins of which were northern, Venetian and Mannerist. His sensitivity to the splendid colouring of Venice and to the art of Jacques Bellange, Georges Lallemand and Jacques Callot is manifest in his Martyrdom of St Matthew (1617; Arras, Mus. B.-A.), a work with striking references to Caravaggio's painting of the same subject (Rome, S Luigi dei Francesi), and still more so in his Adoration of the Magi (1619; Dayton, OH, A. Inst.), which also shows clear links with the art of several precursors of Rembrandt, including Adam Elsheimer, Pieter Lastman, Jakob Pynas and particularly Leonard Bramer.



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