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Simon Vouet Heavenly Charity ca. 1640 oil on canvas Musée du Louvre Simon Vouet Portrait of Anne of Austria as Minerva ca. 1640-48 oil on canvas Hermitage, Saint Petersburg Simon Vouet Abduction of Europa ca. 1640 oil on canvas Museo Thyssen-Bornemisza, Madrid "Though Vouet was productive and sought after by patrons until his health failed in 1648, the arrival of Nicolas Poussin (1594-1665) in Paris late in 1640 marked a change. Poussin was named First Painter to the King, and if his short sojourn was not an unqualified success, his severe classicism made a swift and profound impact on Parisian art. Next to Poussin's rigorous perspective, controlled planar composition, precise spatial organization, and intense and varied human expression, Vouet's decorative brilliance, facility, and mellow lyricism began to be seen as shallow and undisciplined. Vouet was, in effect, displaced, as the younger generation who set up Poussin as a new ideal fought to establish the Académie royale de peinture et sculpture and to articulate an art theory. Vouet opposed the founding of the Académie. Yet his career flourished uncompromised in the 1640s, and if the new generation declared Poussin the new paragon, Vouet's chromatic harmonies, tempered light, graceful figures, and decorative acumen remained deeply entrenched in Parisian visual culture." – from the artist's biography in the Systematic Catalogue of the National Gallery of Art, Washington DC Simon Vouet Ornamental Crouching Male Figures ca. 1640 drawing Metropolitan Museum of Art, New York Simon Vouet Man with Raised Arm behind Parapet 1648 drawing Museum Kunstpalast, Düsseldorf Simon Vouet Saturn conquered by Amor, Venus, and Hope 1645-46 oil on canvas Musée du Berry, Bourges Simon Vouet Venus and Adonis ca. 1642 oil on canvas Getty Museum, Los Angeles Simon Vouet Holy Family ca. 1646 oil on canvas private collection Simon Vouet Virgin and Child with an Angel 1642 oil on canvas Philadelphia Museum of Art Simon Vouet Virgin with Oak Leaves, known as Vierge Hesselin ca. 1640-48 oil on canvas Musée du Louvre Simon Vouet St Catherine before 1649 oil on canvas National Museum of Western Art, Tokyo Simon Vouet Young Man with a Sword ca. 1645 oil on canvas Wadsworth Atheneum, Hartford, Connecticut Simon Vouet Crucifixion before 1649 oil on canvas Musée des Beaux-Arts de Lyon Simon Vouet Entombment 1649 oil on canvas Musée d'art moderne André Malraux, Le Havre

Simon Vouet Self-portrait ca. 1626-27 oil on canvas Musée des Beaux-Arts de Lyon Simon Vouet Portrait of Prince Marcantonio Dori...

Retrouvez les plus belles photos des œuvres d’art exposées dans les musées de France. Peinture, sculpture, dessin...

Simon Vouet Self-portrait ca. 1626-27 oil on canvas Musée des Beaux-Arts de Lyon Simon Vouet Portrait of Prince Marcantonio Doria 1621 oil on canvas Musée du Louvre Simon Vouet Fortune Teller 1617 oil on canvas Palazzo Barberini, Rome Simon Vouet Fortune Teller ca. 1620 oil on canvas National Gallery of Canada "Simon Vouet was born in 1590 in Paris, the son of the minor painter Laurent Vouet. Evidently precocious, at age fourteen he was sent to England to execute a portrait of a "Lady of quality." In 1611 he traveled in the retinue of the French ambassador to Constantinople to make a portrait of an unknown gentleman. The next year he was in Venice, and in 1614, supported by a pension from Louis XIII, he began a fourteen-year sojourn in Rome. Italy offered the young Vouet, already distinguished as a portraitist, a wealth of artistic stimulation as well as the sophisticated patronage of the antiquarian Cassiano dal Pozzo and the noble Orsini, Sacchetti, Giustiniani, Barberini, and Doria families. Vouet absorbed the lessons of the most recent developments in Italian painting, notably by Annibale Carracci and Caravaggio." – from the artist's biography in the Systematic Catalogue of the National Gallery of Art, Washington DC Simon Vouet Judith with the Head of Holofernes ca. 1615-20 oil on canvas Kunsthistorisches Museum, Vienna Simon Vouet Daedalus and Icarus ca. 1625 oil on canvas Wadsworth Atheneum, Hartford, Connecticut Simon Vouet Study of Angels for Altarpiece in St Peter's Basilica, Rome 1625 oil on canvas Los Angeles County Museum of Art Simon Vouet Study of Angels for Altarpiece in St Peter's Basilica, Rome 1625 oil on canvas Los Angeles County Museum of Art Simon Vouet Allegory of Peace ca. 1627 oil on canvas Palazzo Barberini, Rome Simon Vouet Portrait of a Young Woman ca. 1620-21 oil on canvas Pinacoteca di Brera, Milan Simon Vouet Time defeated by Hope, Love, and Beauty 1627 oil on canvas Museo del Prado, Madrid Simon Vouet St Cecilia ca. 1625-27 oil on canvas Blanton Museum of Art, Austin, Texas Simon Vouet St Jerome and Angel ca. 1622-25 oil on canvas National Gallery of Art, Washington DC Simon Vouet Angels with Instruments of the Passion 1625 oil on canvas Musée des Beaux-Arts et d'Archéologie de Besançon

Simon Vouet was a French painter and draftsman, who today is perhaps best remembered for helping to introduce the Italian Baroque style of painting to France. He spent an extensive period of time in Italy, from 1613 to 1627. He was mostly in Rome where the Baroque style was emerging during these years. Despite his success in Rome, Vouet suddenly returned to France in 1627, following pressing recommendations from the Duc de Béthunes and a summons from the King. Vouet's new style was distinctly Italian Baroque. He adapted this style to the grand decorative scheme of the era of Louis XIII and Richelieu and was made premier peintre du Roi. In Paris, Vouet was the fresh dominating force in French painting, producing numerous public altarpieces and allegorical decors for private patrons. Vouet's sizeable atelier or workshop produced a whole school of French painters for the following generation, and through Vouet, French Baroque painting retained a classicizing restraint from the outset. His most influential pupil was Charles le Brun, who organized all the interior decorative painting at Versailles and dictated the official style at the court of Louis XIV of France, but who jealously excluded Vouet from the Académie Royale in 1648. Vouet's other students included Valentin de Boulogne (the main figure of the French "Caravaggisti"), Pierre Mignard, Eustache Le Sueur, Nicolas Chaperon, Claude Mellan and the Flemish artist Abraham Willaerts.

This painting, by the French artist Simon Vouet (c. 1590-1649), depicts Queen Artemisia II of Caria (r. 353-351 BCE) overseeing plans for the spectacular tomb of her late husband, King Mausolus (r. 377-353 BCE). Queen Artemisia poured untold riches into constructing the tomb, hiring the best sculptors in all of Greece—such as Scopas, Bryaxis, Timotheus, […]

Simon Vouet Allegory of Virtue ca. 1634 oil on canvas Musée du Louvre Simon Vouet Diana 1637 oil on canvas Royal Collection, Great Britain Simon Vouet Gaucher de Châtillon, Connétable ca. 1632-34 oil on canvas Musée du Louvre "In 1627 Vouet returned to Paris, called back to France by Louis XIII. He was named First Painter to the King, lodged in the Louvre, and flooded with major commissions, a great many of which have been destroyed, lost, or dismantled and dispersed. For the queen mother, Marie de' Medici, Vouet worked on the decoration of the Luxembourg Palace (lost), and later he was employed by Anne of Austria. For the king, he made tapestry cartoons, drew pastel portraits of the court, and contributed to the decoration of royal residences. . . . Cardinal Richelieu, a prodigious patron, engaged Vouet's services in 1632 to contribute to the Gallery of Illustrious Men [one example directly above] in the Palais Cardinal and to decorate his residences outside Paris (mostly destroyed). . . . Vouet was perpetually employed in the townhouses and country châteaux of the ministry, the aristocracy, and other men of wealth. Little survives from such ambitious projects. . . . Vouet was the dominant figure in French painting in the 1630s and into the early 1640s. He developed a novel palette of high-key colors and daring juxtapositions of hue, especially lemon yellow and gold, chilly hues, and hot oranges. He devised a distinctive female type, ample and mild with delicate, even features and fine pointed noses. His mastery of drawing the human figure enabled him to render difficult foreshortenings seemingly without effort. With its indeterminate perspective and spatial flexibility, Vouet's mode was perfectly adapted for the kind of interior he was repeatedly called upon to decorate, in which individual panels and canvases were incorporated into an ornamental enframement." – from the artist's biography in the Systematic Catalogue of the National Gallery of Art, Washington DC Simon Vouet Muses Urania and Calliope ca. 1634 oil on panel National Gallery of Art, Washington DC Simon Vouet Polyhymnia, Muse of Eloquence ca. 1630-40 oil on panel Musée du Louvre Simon Vouet Euterpe, Muse of Lyric Poetry and Music ca. 1630-40 oil on panel private collection Simon Vouet Lot and his Daughters 1633 oil on canvas Musée des Beaux-Arts de Strasbourg Simon Vouet Allegory of Wealth 1630-35 oil on canvas Musée du Louvre Simon Vouet Aeneas and Anchises fleeing Troy ca. 1635 oil on canvas San Diego Museum of Art Simon Vouet Entombment ca. 1635-38 oil on canvas Fitzwilliam Museum, Cambridge Simon Vouet St Mary Magdalene ca. 1630 oil on canvas Cleveland Museum of Art Simon Vouet Madonna and Child 1633 oil on canvas National Gallery of Art, Washington DC Simon Vouet Creusa carrying the Gods of Troy ca. 1635 drawing National Gallery of Art, Washington DC Simon Vouet Portrait of Young Woman with Pearl Earrings ca. 1632-35 drawing Art Institute of Chicago

Muses Uriana and Calliope, National Gallery of Art Allegory of prudence Virgin and Child Peu d’artistes ont autant compté, dans l’histoire de la peinture française, que Simon Vouet . Da…

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Simon Vouet 1590-1649 Paris L'Archange Saint Michel terrassant le dragon The Archangel Saint Michael slaying the dragon Besançon Musée des Beaux Arts En réalité tableau d'un suiveur de Simon Vouet. Une de ces nombreuses peintures dont les progrès techniques récents ont modifié l'attribution à l'origine stylistique. In reality, a picture of a follower of Simon Vouet. One of those many paintings whose recent technical progress has changed the attribution to the stylistic origin. LA PEINTURE DE LA PÉRIODE CATHOLIQUE-HUMANISTE EN EUROPE Au 17è et au 18è siècle la peinture française, comme celle de l'Italie, de l'Espagne et aussi de l'Allemagne appartient à la période Catholique-Humaniste quant aux thèmes (A), et de "la peinture pleine" quant au style (B). A/ Période Catholique-Humaniste, car les thèmes des tableaux sont empruntés à deux origines principales qui coexistent sans aucun affrontement : - La religion catholique d'une part, Ancien et Nouveau Testament. Thèmes anciens qui sont ceux de l'art pictural depuis le début de la peinture européenne, dès l'époque romane. - Les thèmes tirés de l'Histoire et la Mythologie gréco-romaine d'autre part qui apparaissent vers 1500 essentiellement à partir de l'Italie. Ce que l'histoire officielle appelle la "Renaissance". Ces thèmes donnent à la représentation du nu masculin et féminin une très grande importance dans la peinture de ces régions de l'Europe. - Il faut y ajouter le portrait, dans la haute société du temps. Les mécènes sont le Roi, l’Église, l'Aristocratie et une très haute bourgeoisie financière. Les thèmes tirés de la vie et des mœurs du temps sont rares, ou inspirés presque exclusivement par l'aristocratie et la très haute bourgeoisie. Les paysages servent de cadre à la religion, à l'histoire et à la mythologie. Les natures mortes ne sont pas ignorées, mais elles sont loin d'être très développées. L'Angleterre est une île qui tient à le rester, et donc ces caractères sont un peu moins marqués, mais ils lui restent globalement applicables car la société est aristocratique et l'anglicanisme n'est pas aniconique. Mais il faut tenir compte de trois particularismes : La fascination pour l'antiquité est bien moindre dans un pays qui a été peu influencé par la romanité. Le nu tant masculin que féminin est ignoré. Le portrait, aristocratique, est un genre national. L'Europe du Nord est sous influence allemande, française ou italienne. L'Europe de l'Est est soit sous influence allemande française ou italienne et dans ce cas son art n'est pas très différent de la peinture de l'ouest de l'Europe. Soit sous influence slave-orthodoxe et dans ce cas son histoire est différente. Un seul pays européen échappe à cette description: les Pays Bas du Nord. L'idéologie protestante, de tendance calviniste, modérée par un pragmatisme et un matérialisme caractéristique de la culture de cette région a donné naissance à une peinture toute nouvelle quant aux thèmes : - Disparition presque totale des thèmes tirés de l'histoire ancienne et de la mythologie dans une région de l'Europe qui n'a pas connu la colonisation romaine. Avec une conséquence très importante : disparition totale de la peinture de la nudité masculine ou féminine. - Raréfaction très importante de la peinture religieuse du fait de la disparition des motifs inspirés par la Vierge et les Saints et d'une certaine tendance à l'aniconisme héritée du judaïsme. Les thèmes de la peinture religieuse se limitent le plus souvent à des sobres représentations du Christ en croix et à quelques scènes tirées de l'Ancien Testament. - Développement de la peinture profane, celle des mœurs de la société contemporaine des peintres, avec une orientation bourgeoise très accentuée, mais aussi un intérêt certain pour l'artisanat et la paysannerie. Les mécènes sont bien plus la bourgeoisie moyenne qu'ailleurs en Europe et ce sont les goûts de cette bourgeoisie moyenne qui dictent les particularismes de l'art néerlandais. - Développement important de la Nature Morte. - Développement de la peinture des paysages néerlandais ou européens, y compris l'Italie, mais sans aucun motif religieux, historiques ou mythologiques. C'est la naissance de "la peinture touristique", la peinture "carte postale". B/ Le style de la peinture est le même dans toute l'Europe. Il est fixé depuis le début du 16è siècle et il se maintiendra, seul, jusque dans la seconde partie du 19è siècle : C'est "la peinture pleine", parfaite imitation de la nature, une peinture qui est parvenue a représenter exactement sur une surface en deux dimensions les trois dimensions du monde tel que l'oeil humain le perçoit. A l'intérieur de cette catégorie, les styles de la période vont du classicisme au baroque avec une tendance très marquée vers une plus grande frivolité et un érotisme plus accentué au fur et à mesure que le temps passe. A la fin de la période le rococo est un baroque parfois très coquin dont les sujets peuvent être aussi la peinture animalière, le portrait, ainsi que des thèmes tirés de l'histoire et de la mythologie, mais traités dans un esprit anecdotique. Le style peut être classique ou annoncer par un certain flou du dessin, un léger tachisme, les expériences de certains romantiques ou l'art préimpressionniste. THE PAINTING OF THE CATHOLIC-HUMANIST PERIOD IN EUROPE In the 17th and 18th centuries French painting, like that of Italy, Spain and also Germany, belongs to the Catholic-Humanist period in terms of themes (A) and "full painting" in terms of style (B). A/ Catholic-Humanist period, because the themes of the paintings are borrowed from two main origins that coexist without any confrontation: - The Catholic religion on the one hand, the Old and New Testament. Ancient themes that are those of pictorial art since the beginning of European painting, since Romanesque times. - The themes drawn from History and Greco-Roman Mythology on the other hand which appear around 1500 mainly from Italy. What official history calls the "Renaissance". These themes give the representation of the male and female nude a very great importance in the painting of these regions of Europe. - To this must be added the portrait, in the high society of the time. The patrons are the King, the Church, the Aristocracy and a very high financial bourgeoisie. Themes drawn from the life and customs of the time are rare, or inspired almost exclusively by the aristocracy and the very high bourgeoisie. Landscapes serve as a framework for religion, history and mythology. Still lifes are not ignored, but they are far from being very developed. England is an island that wants to remain so, and so these characters are a little less marked, but they remain generally applicable to it because society is aristocratic and Anglicanism is not aniconical. But three particularities must be taken into account: The fascination for antiquity is much less in a country that has been little influenced by the Greco-Roman antiquity . Both the male and female nude are totally ignored. The portrait, aristocratic, is a national genre. Northern Europe is under German, French or Italian influence. Eastern Europe is either under French or Italian German influence and in this case its art is not very different from Western European painting. Either under Slavic-Orthodox influence and in this case its history is different Only one European country escapes this description: the Northern Netherlands. The Protestant ideology, of Calvinist tendency, moderated by a pragmatism and materialism characteristic of the culture of this region has given rise to a completely new painting as regards the themes: - Almost total disappearance of themes from ancient history and mythology in a region of Europe that did not experience Roman colonization. With a very important consequence: the total disappearance of male or female nudity painting. - Very important rarefaction of religious painting due to the disappearance of the motifs inspired by the Virgin and the Saints and a certain tendency towards aniconism inherited from Judaism. The themes of religious painting are most often limited to sober representations of Christ on the cross and to a few scenes from the Old Testament. - Development of profane painting, that of the mores of the contemporary society of painters, with a very accentuated bourgeois orientation, but also a certain interest for crafts and peasantry. Patrons are much more the average bourgeoisie than elsewhere in Europe and it is the tastes of this average bourgeoisie that dictate the particularities of Dutch art. - Important development of the Dead Nature (Sill Life) - Development of painting of Dutch or European landscapes, including Italy, but without any religious, historical or mythological motives. It is the birth of "tourist painting", "postcard" painting. B/ The style of painting is the same throughout Europe. It has been fixed since the beginning of the 16th century and it will remain alone until the second half of the 19th century: It is "the full painting", a perfect imitation of nature, a paint that has succeeded in representing exactly on a two-dimensional surface the three dimensions of the world as perceived by the human eye. Within this category, the styles of the period range from classicism to baroque with a very marked tendency towards greater frivolity and eroticism as time goes by. At the end of the period the Rococo is a Baroque sometimes very naughty whose subjects may also be animal painting, portraiture, as well as themes drawn from history and mythology, but treated in an anecdotal spirit. The style can be classic or announce by some vague drawing, a slight tachism, the experiences of the some romantic or pre-impressionist art.

Perhaps the more appealing of the two drawings from the Marquis of Lagoy's collection up for sale is not Rubens' project for a vignette for Franciscus Aguilon’s...

Simon Vouet. 1590-1649. Paris. La Muse Clio. The Muse Clio. vers 1640. Karlsruhe. Staatliche Kunsthalle.

Retrouvez les plus belles photos des œuvres d’art exposées dans les musées de France. Peinture, sculpture, dessin...