|
|
|
| |
|
100% hand painted, 100% cotton canvas,
100% money back if not satisfaction.
|
|
|
|
|
Baron Jean-Baptiste Regnault
Paris 1754-1829
French painter. His first teacher was the history painter Jean Bardin, who took him to Rome in 1768. Back in Paris in 1772, he transferred to the studio of Nicolas-Bernard Lepicie. In 1776 he won the Prix de Rome with Alexander and Diogenes (Paris, Ecole N. Sup. B.-A.) and returned to Rome, where he was to spend the next four years at the Academie de France in the company of Jacques-Louis David and Jean-Francois-Pierre Peyron. While witnessing at first hand Peyron's development of a manner indebted to Poussin and David's conversion to Caravaggesque realism, Regnault inclined first towards a Late Baroque mode in a Baptism of Christ (untraced; recorded in two sketches and an etching), then, in Perseus Washing his Hands (1779; Louisville, KY, Speed A. Mus.), to the static Neo-classicism of Anton Raphael Mengs.
|
|
The_Education_of_Achilles_by_the_Centaur_Chiron_(mk05)
|
|
|
|
|
|
|
Click to Enlarge
|
| Baron_Jean-Baptiste_Regnault
|
The Education of Achilles by the Centaur Chiron (mk05)
1782
Canvas 103 x 84 1/2''(261 x 215 cm)Reception picture at the Academie Royale de Peinture et de Sculpture in 1783 Salons of 1783 and 1791;collection of the Academie Royale.INV 7282(MN)
Painting ID:: 20902
|
|
|
|
|
|
| 1782
Canvas 103 x 84 1/2''(261 x 215 cm)Reception picture at the Academie Royale de Peinture et de Sculpture in 1783 Salons of 1783 and 1791;collection of the Academie Royale.INV 7282(MN) |
|
Baron Jean-Baptiste Regnault
Paris 1754-1829
French painter. His first teacher was the history painter Jean Bardin, who took him to Rome in 1768. Back in Paris in 1772, he transferred to the studio of Nicolas-Bernard Lepicie. In 1776 he won the Prix de Rome with Alexander and Diogenes (Paris, Ecole N. Sup. B.-A.) and returned to Rome, where he was to spend the next four years at the Academie de France in the company of Jacques-Louis David and Jean-Francois-Pierre Peyron. While witnessing at first hand Peyron's development of a manner indebted to Poussin and David's conversion to Caravaggesque realism, Regnault inclined first towards a Late Baroque mode in a Baptism of Christ (untraced; recorded in two sketches and an etching), then, in Perseus Washing his Hands (1779; Louisville, KY, Speed A. Mus.), to the static Neo-classicism of Anton Raphael Mengs.
|
|
|
|
ARTWORKS INDEX
A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
ARTISTS INDEX A B C D E F G H I J K L M N O P Q R S T U V W X Y Z
|
|
|
|
