Jean Baptiste Simeon Chardin
1699-1779
French
Jean Baptiste Simeon Chardin Locations
Chardin was born in Paris, the son of a cabinetmaker, and rarely left the city. He lived on the Left Bank near Saint-Sulpice until 1757, when Louis XV granted him a studio and living quarters in the Louvre.
Chardin entered into a marriage contract with Marguerite Saintard in 1723, whom he did not marry until 1731. He served apprenticeships with the history painters Pierre-Jacques Cazes and Noël-Nicholas Coypel, and in 1724 became a master in the Acad??mie de Saint-Luc.
Upon presentation of The Ray in 1728, he was admitted to the Acad??mie Royale de Peinture et de Sculpture. The following year he ceded his position in the Acad??mie de Saint-Luc. In November of 1731 his son Jean-Pierre was baptized, and a daughter, Marguerite-Agn??s, was baptized in 1733. In 1735 his wife Marguerite died, and within two years Marguerite-Agn??s had died as well.
The Ray, 1728, Mus??e du Louvre, Paris.Beginning in 1737 Chardin exhibited regularly at the Salon. He would prove to be a dedicated academician, regularly attending meetings for fifty years, and functioning successively as counsellor, treasurer, and secretary, overseeing in 1761 the installation of Salon exhibitions.
In 1744 he entered his second marriage, this time to Françoise-Marguerite Pouget. The following year a daughter, Ang??lique-Françoise, was born, but she died in 1746.
In 1752 Chardin was granted a pension of 500 livres by Louis XV. At the Salon of 1759 he exhibited nine paintings; it was the first Salon to be commented upon by Denis Diderot, who would prove to be a great admirer and public champion of Chardin work. Beginning in 1761, his responsibilities on behalf of the Salon, simultaneously arranging the exhibitions and acting as treasurer, resulted in a diminution of productivity in painting, and the showing of replicas of previous works. In 1763 his services to the Acad??mie were acknowledged with an extra 200 livres in pension. In 1765 he was unanimously elected associate member of the Acad??mie des Sciences, Belles-Lettres et Arts of Rouen, but there is no evidence that he left Paris to accept the honor.[8] By 1770 Chardin was the Premiere peintre du roi, and his pension of 1,400 livres was the highest in the Academy.
In 1772 Chardin son, also a painter, drowned in Venice, a probable suicide. The artist last known oil painting was dated 1776; his final Salon participation was in 1779, and featured several pastel studies. Gravely ill by November of that year, he died in Paris on December 6, at the age of 80. Related Paintings of Jean Baptiste Simeon Chardin :. | Pipes and Drinking Pitcher | Silver glasses have lunch | PLAYING gyro juvenile | The fursorgliche lass | Still Life with Basket of Strawberries (mk08) | Related Artists: Samuel Owen(1769-1857), Watercolour painter Leonhard BeckGerman Northern Renaissance Painter, ca.1480-1542, Illuminator, painter, draughtsman and woodcutter, son of Georg Beck. He first appears as an illuminator and collaborator with his father in two Psalters for the Augsburg monastery of SS Ulrich and Afra in 1495, producing 35 coloured initial letters for each of them (Augsburg, Staats- & Stadtbib., Cod. 49a). These are vigorously coloured but fairly uniform in character, with small, lively biblical scenes excellently adapted to the letters. Red, green and blue predominate; ochre tones provide a link with the gold ground. The initial letter X is composed of splendidly curled, entwining foliage with birds and half-figures of prophets; the Virgin, Joseph, the Christ Child in the manger and the choir of angels are each enclosed in one of its sectors. The figures are presented in a light, easy manner; the draughtsmanship avoids unnecessary detail. Velasquez1599-1660,Spanish painter. He was apprenticed to Francisco Herrera the Elder before being trained by Francisco Pacheco. His early works were mostly religious or genre scenes. After arriving in Madrid in 1623, he painted a portrait of Philip IV that won him immediate success and an appointment as court painter. His position gave him access to the royal collections, including works by Titian, who exerted the greatest influence on his style. In his portraits from this period, only the faces and hands of the figures are accentuated, and the dark figures stand out against a light background. A visit to Italy (1629 ?C 31) further developed his style, and on his return to Madrid he entered his most productive period. Velazquez created a new type of informal royal portrait for Philip hunting lodge, and his portraits of court dwarfs display the same discerning eye as those of his royal subjects. On a second visit to Rome (1649 ?C 51) he painted a portrait of Pope Innocent X. The powerful head, brilliant combinations of crimson of the curtain, chair, and cope are painted with fluent technique and almost imperceptible brushstrokes that go far beyond the late manner of Titian and announce the last stage in Velazquez development. This portrait was copied innumerable times and won him immediate and lasting renown in Italy. In his last years he created his masterpiece, Las Meninas (The Maids of Honour, 1656). In this casual scene, the artist is shown painting the king and queen in the presence of the infanta Margarita and her attendants; the nearly life size figures are painted in more or less detail according to their relation to the central figure of the infanta and to the source of light, creating a remarkable illusion of reality never surpassed by Velazquez or any other artist of his age. He is universally acknowledged as one of the giants of Western art.
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