Nicolas de Largillière: 8 works

'The engraver Gérard Edelinck (1640--1707) sits next to him, and the two hold up a portrait print that Edelinck made from Largillière's original painting (displayed at far right).'

'Eager to own images of famous contemporaries, many Frenchmen in Largillière's day collected prints like this one.'

'An important bridge between the staid and conservative French portrait tradition of the seventeenth century and the more colorful and animated style of the eighteenth century, Largillière brought to his likenesses elements culled from his training in Flanders and England. His fluid brushwork and a lush sense of color are hallmarks that are evident in this work.'

'Largilliere knew how to flatter his sitters, particularly the ladies. In the museum's portrait he has recorded the appearance of an unknown young woman with a sweet face, powdered hair, a rosebud mouth and ringlets on her brow, all of which is perfectly in keeping with Roger de Piles' requirements for female portraits.'

'Peintures PE330 00-000907 Chantilly, musée Condé Nous contacter pour les éditions commerciales, la publicité, les fac-similés. (C) RMN (Domaine de Chantilly) - © Harry Bréjat Mlle Duclos de Chateauneuf dans le rôle d'Ariane huile sur toile Largillière Nicolas de (1656-1746'

'This work is thought to be from Largillièrre's mature period.'

'Nicolas de Largillière positioned his figure before an atmospheric landscape and used fluent brushwork, rich autumnal colors, and exquisite treatment of draperies. All these characteristics betray his training in a Flemish late Baroque style heavily indebted to Anthony van Dyck.'

'It may be a repetition by Largillierre of a larger original, or possibly represents the artist's response to the small, exquisitely finished portraits by Dutch painters then becoming fashionable in France.'