Las óleos de todo Parrocel, Joseph
ID Image  Painting (From A to Z)       Details 
19765  
Parrocel, Joseph, Cavalry Battle
  		 Cavalry Battle   Oil on canvas Galleria degli Uffizi, Florence.
30046  
Parrocel, Joseph, Cavalry Battle
  		 Cavalry Battle   mk67 Oil on canvas 19 11/16x26 3/8in Uffiz,Gallery
20651  
Parrocel, Joseph, Crossing of the Rhine by the Army of Louis XIV on 12 June (mk05)
  		 Crossing of the Rhine by the Army of Louis XIV on 12 June (mk05)   1672 Canvas 92 1/4 x 64 1/2''(234 x 164 cm)Painted for the Chateau de Marly in 1699;collection of Louis XIV
51020  
Parrocel, Joseph, The Crossing of the Rhine by the Army of Louis XIV
  		 The Crossing of the Rhine by the Army of Louis XIV   1672 1699 Oil on canvas, 234 x 164 cm
19766  
Parrocel, Joseph, The Return from the Hunt
  		 The Return from the Hunt   1700 Oil on canvas National Gallery, London.
43235  
Parrocel, Joseph, The Return from the Hunt
  		 The Return from the Hunt   mk170 circa 1700 Oil on canvas 110.5x106cm
Parrocel, Joseph
French, 1646-1704 He studied with his father Barthelemy Parrocel (1595-1660) and then with his elder brother Louis Parrocel (1634-94). He went to Paris for four years to perfect his work and then, c. 1667, to Rome, where he became the pupil of the battle painter Jacques Courtois and was influenced by Salvator Rosa. He remained in Italy for eight years and stayed for a time in Venice, before returning to settle in Paris in 1675. He was approved (agree) by the Academie Royale de Peinture et de Sculpture in February 1676 and received as a full member in November of the same year, presenting the Siege of Maastricht (Draguignan, Mus. Mun.). His painted oeuvre consists principally of military scenes, particularly battles, and he received numerous royal commissions. In the period 1685-8 he executed 11 paintings for the Salle du Grand Couvert at the cheteau of Versailles (nine in situ; one in Tours, Mus. B.-A.; one in Dijon, Mus. B.-A.); in 1699 he painted the Crossing of the Rhine (Paris, Louvre.) for the cheteau of Marly, Yvelines, and in 1700 he executed the Fair at Bezons (Tours, Mus. B.-A.), anticipating the fetes galantes of Antoine Watteau. He was also the author of a number of hunting scenes . His most important religious paintings were the May of Notre-Dame de Paris of 1694, St John the Baptist Preaching (Arras, Mus. B.-A.) and St Augustin Succouring the Sick (c. 1703; Nantes, Mus. B.-A.), which was intended for the monastery in the Place des Victoires in Paris. He also contributed battle scenes to the backgrounds of portraits by Hyacinthe Rigaud and by Gabriel Blanchard. His technique was highly original in the context of his time; he employed a very free style of execution and used thick impasto and intense colours. He was also a prolific engraver, producing around 100 plates,



Sweden Wholesale Oil Paintings, Stretcher Bars, Picture Frames & Beveled Mirrors