Las ˇleos de todo VIGNON, Claude

ID Image  Painting (From A to Z)       Details 
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
VIGNON, Claude, Esther before Ahasuerus
 Esther before Ahasuerus   1624 Oil on canvas, 80 x 119 cm
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
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
VIGNON, Claude, The Hills at Triel
 The Hills at Triel   mk235 c.1881 Oil on canvas 46.4x55.4cm
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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