1510-1572 French Francois Clouet Locations The earliest reference to him is a document dated December 1541 (see Jean Clouet), in which the king renounces for the benefit of François his father estate, which had escheated to the crown as the estate of a foreigner. In this document, the younger Clouet is said to have followed his father very closely in his art. Like his father, he held the office of groom of the chamber and painter in ordinary to the king, and so far as salary is concerned, he started where his father left off. Many drawings are attributed to this artist, often without perfect certainty. There is, however, more to go upon than there is in the case of his father. As the praises of Francois Clouet were sung by the writers of the day, his name was carefully preserved from reign to reign, and there is an ancient and unbroken tradition in the attribution of many of his pictures. There are not, however, any original attestations of his works, nor are any documents known which would guarantee the ascriptions usually accepted. To him are attributed the portraits of Francis I at the Uffizi and at the Louvre, and various drawings relating to them. He probably also painted the portrait of Catherine de Medici at Versailles and other works, and in all probability a large number of the drawings ascribed to him were from his hand. One of his most remarkable portraits is that of Mary, queen of Scots, a drawing in chalks in the Bibliotheque Nationale, and of similar character are the two portraits of Charles IX and the one at Chantilly of Marguerite of France. Perhaps his masterpiece is the portrait of Elizabeth of Austria in the Louvre. This piece made an important impression on Claude Levi-Strauss. In particular it helped inspire his theory of the mod??le reduit, or of works of art as simplifications and scale models of the realities they represent, and other theories of artworks, in his book The Savage Mind. Clouet resided in Paris in the rue de Ste Avoye in the Temple quarter, close to the Hotel de Guise, and in 1568 is known to have been under the patronage of Claude Gouffier de Boisy, Seigneur d Oiron, and his wife Claude de Baune. Another ascertained fact concerning Francois Clouet is that in 1571 he was summoned to the office of the Court of the Mint, and his opinion was taken on the likeness to the king of a portrait struck by the mint. He prepared the death-mask of Henry II, as in 1547 he had taken a similar mask of the face and hands of Francis I., in order that the effigy to be used at the funeral might be prepared from his drawings; and on each of these occasions he executed the painting to be used in the decorations of the church and the banners for the great ceremony. Several miniatures are believed to be his work, one very remarkable portrait being the half-length figure of Henry II in the collection of J. Pierpont Morgan. Another of his portraits is that of Francois, duc d Alençon in the Jones collection at South Kensington, and certain representations of members of the royal family which were in the Hamilton Palace collection and the Magniac sale are usually ascribed to him. He died on the 22nd of December 1572, shortly after the massacre of St Bartholomew, and his will, mentioning his sister and his two illegitimate daughters, and dealing with the disposition of a considerable amount of property, is still in existence. His daughters subsequently became nuns. His work is remarkable for the extreme accuracy of the drawing, the elaborate finish of all the details, and the exquisite completeness of the whole portrait. He must have been a man of high intelligence, and of great penetration, intensely interested in his work, and with considerable ability to represent the character of his sitter in his portraits. His coloring is perhaps not specially remarkable, nor from the point of style can his pictures be considered especially beautiful, but in perfection of drawing he has hardly any equal.  Related Paintings of Francois Clouet :. | Elisabeth of Austria, Queen of France, daughter of Holy Roman Emperor Maximilian II. of Austria and Infanta Maria of Spain, wife of King Charles Charl | Bad der Diana | Portrait of a man | Elisabeth of Austria, Queen of France, daughter of Holy Roman Emperor Maximilian II. of Austria and Infanta Maria of Spain, wife of King Charles Charl | Portrait of Charles IX of France |
Related Artists:
Panini, Giovanni Paolo
Italian Neoclassical Painter, ca.1691-1765 Italian painter, architect and stage designer. He was a highly prolific and versatile painter, best known for his numerous vedute of Rome, many of which focused on the remnants of the city's Classical past. Ceremonies and festivals often feature in his vedute, which thus constitute a lively documentation of contemporary topography, lifestyle and customs. In contrast to Bernardo Bellotto and Gaspar van Wittel, his treatment is picturesque rather than rigorous; he liked to enliven and animate his views by adding numerous figures. He worked exclusively in Rome and by the end of his career was the head of a thriving workshop that included the Frenchman Hubert Robert (in Rome from 1754) and Panini's son Francesco Panini (b 1738).
Julie Wilhelmine Hagen-Schwarz
(born October 27, 1824 near Tartu - died Tartu October 7, 1902) was an Estonian painter of Baltic German origin. She studied in Dresden with Friedrich Gonne and later in Munich with Johann Moritz Rugendas.
Julius Caesar Ibbetson
1759-1817 British In 1785, Ibbetson began exhibiting at the Royal Academy with View of North Fleet. Mitchell calls George Biggin (1783), which is one of Ibbetson's earliest known works, "an accomplished full-length portrait in the Gainsborough tradition, [which] should be considered as a milestone in the development of an artist who was entirely self-taught". Through the efforts of Captain William Baillie in 1787, Ibbetson was made draughtsman to Colonel Charles Cathcart on the first British embassy to Peking (Beijing); he made many watercolor drawings of the animals and plants on the journey. While he was away, his Ascent of George Biggin, esq. from St. George's Fields, June 29th 1785 was exhibited at the Royal Academy to great critical and popular acclaim. In 1789, Ibbetson went to visit the Viscount Mountstuart at Cardiff Castle in Wales. He spent decades drawing the scenery there and, according to Mitchell, "[h]is detailed watercolours of iron furnaces, coal staithes, and copper mines foreshadow the work of Joseph Wright of Derby and J. M. W. Turner and constitute an important record of the early industrial developments in that region, but are less well known than his more numerous scenes of folk life and picturesque scenery." After a visit to the Isle of Wight in 1790, he began painting shipwrecks and smugglers. David Murray, 2nd Earl of Mansfield, and his wife commissioned Ibbetson to decorate Kenwood House, in 1794. This distracted him from the death of his wife and caring for their three children. Her death had "provoked a minor nervous breakdown, exacerbated by near destitution", but the Kenwood project relieved that stress. Four years later, he moved to Liverpool to work for Thomas Vernon. In 1801 he married his second wife, Bella Thompson, and moved to Ambleside. Ibbetson acquired several generous patrons in Liverpool and in Edinburgh: William Roscoe, Sir Henry Nelthorpe, and the Countess of Balcarress. The last prompted him to write and publish his instruction manual An Accidence, or Gamut, of Painting in Oil (1803). In 1803, he met the Yorkshire philanthropist William Danby and in 1805 moved to Masham to be near him. The next 14 years of his life were the most settled of his life. Ibbetson died on 13 October 1817 and was buried in the churchyard of St Mary's, Masham. Benjamin West described Ibbetson as the "Berchem of England" in recognition of his debt to the Dutch 17th century landscape painters. According to Mitchell, "[h]is watercolours are prized for their delicacy and sureness of line". Many were engraved for projects such as John Church's A Cabinet of Quadrupeds and John Boydell's Shakespeare Gallery.