1659-1743 French Hyacinthe Rigaud Gallery He was born Jacint Rigau i Ros [1] -- though in many encyclopaedias is "re-christened" with the name of H??acint Francesc Honrat Mathias Pere Martyr Andreu Joan Rigau -- in Perpignan, which became French (Treaty of the Pyrenees) a short time after his birth (November 7, 1659). In 1682, he was awarded the Prix de Rome. He was the most important portrait painter in the reign of King Louis XIV. His instinct for impressive poses and grand presentations precisely suited the tastes of the royal personages, ambassadors, clerics, courtiers, and financiers who sat for him. Because Rigaud's paintings captured very exact likenesses along with the subject's costumes and background details, his paintings are considered precise records of contemporary fashions. Rigaud was a master of the Baroque style of art. Rigaud's best-known work is his 1701 painting of Louis XIV which today hangs in the Louvre in Paris, as well as the second copy also requested by Louis XIV which is now at Versailles. In 1709 he was made a noble by his hometown of Perpignan. In 1727 he was made a knight of the Order of Saint Michael. Hyacinthe Rigaud died in Paris, France on December 27, 1743.  Related Paintings of Hyacinthe Rigaud :. | Archbishop of Cambrai | Portrait of Joseph Fleuriau d'Armenonville | Portrait of Marie Anne de Bourbon | Portrait of Louis XIV | Portrait de Claude de Saint-Simon (1695-1760), eveque de Metz |
Related Artists:
Johan Fredrik Krouthen
Swedish, 1858-1932
theophile-alexandre steinlen
Swiss-born French Art Nouveau Painter and Printmaker, 1859-1923 was a Swiss-born French Art Nouveau painter and printmaker. Born in Lausanne, Steinlen studied at the University of Lausanne before taking a job as a designer trainee at a textile mill in Mulhouse in eastern France. In his early twenties he was still developing his skills as a painter when he and his new wife were encouraged by the painter Francois Bocion to move to the artistic community in the Montmartre Quarter of Paris. Once there, Steinlen was befriended by the painter Adolphe Willette who introduced him the artistic crowd at Le Chat Noir that led to his commissions to do poster art for the cabaret owner/entertainer, Aristide Bruant and other commercial enterprises. La tournee du Chat Noir avec Rodolphe Salis (1896)In the early 1890s, Steinlen's paintings of rural landscapes, flowers, and nudes were being shown at the Salon des Independants. His 1895 lithograph titled Les Chanteurs des Rues was the frontispiece to a work entitled Chansons de Montmartre published by Editions Flammarion with sixteen original lithographs that illustrated the Belle Epoque songs of Paul Delmet. His permanent home, Montmartre and its environs was a favorite subject throughout Steinlen's life and he often painted scenes of some of the harsher aspects of life in the area. In addition to paintings and drawings, he also did sculpture on a limited basis, most notably figures of cats that he had great affection for as seen in many of his paintings. Steinlen became a regular contributor to Le Rire and Gil Blas magazines plus numerous other publications including L'Assiette au Beurre and Les Humouristes, a short-lived magazine he and a dozen other artists jointly founded in 1911.
George Bellows
1882-1925 Growing prestige as a painter brought changes in his life and work. Though he continued his earlier themes, Bellows also began to receive portrait commissions, as well as social invitations, from New York's wealthy elite. Additionally, he followed Henri's lead and began to summer in Maine, painting seascapes on Monhegan and Matinicus islands. At the same time, the always socially conscious Bellows also associated with a group of radical artists and activists called "the Lyrical Left", who tended towards anarchism in their extreme advocacy of individual rights. He taught at the first Modern School in New York City (as did his mentor, Henri), and served on the editorial board of the socialist journal, The Masses, to which he contributed many drawings and prints beginning in 1911. However, he was often at odds with the other contributors because of his belief that artistic freedom should trump any ideological editorial policy. Bellows also notably dissented from this circle in his very public support of U.S. intervention in World War I. In 1918, he created a series of lithographs and paintings that graphically depicted the atrocities committed by Germany during its invasion of Belgium. Notable among these was The Germans Arrive, which was based on an actual account and gruesomely illustrated a German soldier restraining a Belgian teen whose hands had just been severed. However, his work was also highly critical of the domestic censorship and persecution of anti-war dissenters conducted by the U.S. government under the Espionage Act.