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Nicolas de Largillière (Parigi, 1656 – 1746)Nicolas de Largillière (Paris, 1656 - 1746), Baby Jesus pointing to the cross18th 18th Century
18th 18th Century
$11,904.72
£8,840.96
€10,000
CA$16,364.53
A$18,242.10
CHF 9,601.47
MX$221,145.31
NOK 122,244.68
SEK 113,657.95
DKK 76,130.66
About the Item
Nicolas de Largillière (Paris, 1656 - 1746)
Baby Jesus pointing to the cross
Oil on canvas, 60 x 42 cm
Critical Record Prof. Emilio Negro
The painting in question proposes an unusual and, at the same time, fascinating iconographic scheme, that of the Christ child pointing to the cross, the instrument of his martyrdom and prefiguration of his death and resurrection for the redemption of human sins. Baby Jesus addresses the concerning in an almost playful manner: what jumps out at us is the infant's viscous gaze, which interacts directly with the viewer. The depiction of Christ is naturalistic and encyclopedic in nature and clearly shows several references to the northern European tradition of the so-called Golden Age, the 17th century. Because of this characteristic and because of the choice of a light and bright color palette, the work can be ascribed to the corpus of Nicolas de Largillière, a French-born artist trained in Antwerp at the turn of the seventeenth and eighteenth centuries who was well versed in the stylistic features of Nordic painting. Nicolas de Largillière, a Flemish-born French painter, is a key figure in the artistic landscape of the 17th and 18th centuries, celebrated for his lavish portraits and his ability to capture the elegance and grandeur of the aristocracy and bourgeoisie of his time. His long and prolific career saw him witness and interpret the stylistic changes that led from the Baroque to the Rococo, leaving a legacy of works that still captivate today for their vibrancy and refinement. Born in Paris into a family of merchants, Largillière spent his childhood in Antwerp, in the Spanish Netherlands, where his father initially instilled a commercial career. However, his innate inclination for art naturally pushed him toward painting. His training was with Antoine Goubeau, a painter specializing in still lifes and landscapes, who transmitted to him the technical solidity and attention to detail typical of the Flemish school. It was a crucial apprenticeship that provided the foundation for him to develop his distinctive style. Around 1674, Largillière moved to London, where he worked for a few years in the studio of Peter Lely, the leading portrait painter at the court of Charles II. This experience was crucial to his artistic maturation. In contact with Lely, a master in court portraiture, Largillière honed his skill in depicting high-ranking figures, learning to imbue his subjects with a regal grace and dignity. His stay in England also enabled him to appreciate the richness of color and vivid brushwork typical of the English tradition. Returning to Paris in 1679, Largillière quickly established himself as one of the capital's most sought-after portrait painters. His ascent was rapid: in 1686 he was admitted to the Académie Royale de Peinture et de Sculpture and in 1705 became its professor, rising to the position of rector in 1722 and finally director in 1738. These academic awards testify not only to his undisputed mastery, but also to his influential role in shaping the next generation of artists. Largillière's clientele was vast and diverse, including members of the royal family, such as Louis XIV and his successors, the court aristocracy, wealthy bourgeoisie, magistrates, scholars and artists. He excelled in representational portraiture, where his subjects were often depicted in sumptuous clothes, surrounded by symbols of status, and surrounded by elaborate backdrops. His rich, mellow brushwork, brilliant use of color, and ability to render the textures of fabrics and jewelry gave his portraits an extraordinary opulence and vitality. An emblematic example of his style is Largillière's Portrait of the Family (c. 1704), a work that, although a family self-portrait, reveals the same grandeur and attention to detail as his official portraits. The Portrait of Louis XIV (c. 1700) also shows his ability to capture the majesty of the Sun King, infusing the monarch with an aura of power and authority. In addition to the official portraits, Largillière also produced many more intimate and personal portraits, where his sensitivity manifested itself in his ability to capture the psychology of his models. Although portraits are the focus of his production, he also occasionally tried his hand at still lifes, landscapes and historical works, demonstrating remarkable versatility. Largillière was a meticulous artist who devoted great attention to detail and composition. His workshop was renowned for its organization and efficiency, and many young artists trained under his guidance. His influence was lasting and extended to several French painters of the 18th century, who took up and developed his innovations in portraiture. Nicolas de Largillière died in Paris in 1746, at the age of ninety, leaving an impressive artistic legacy and a catalog of more than a thousand works. His long and successful career established him as one of the greatest portrait painters of his era, a master who was able to immortalize the French Golden Age with elegance and splendor, providing us with a precious gallery of faces that still speak to us today of an era of great refinement and magnificence.
The pronounced portraiture connotation of our painting means that it blends seamlessly into De Largillière's corpus: indeed, other similarities can be found with the Portrait of the Countess of Rupelmonde, the Sketch for Head of Child, and the Double Portrait of Prince James Francis Edward Stuart and Princess Louise Marie Theresa Stuart, currently part of the collections of the National Portrait Gallery in London. In particular, the London prince's delicate features closely resemble the likeness of our own baby Jesus pointing to the cross. With our painting, the aforementioned works share the graceful compositional taste of an Italianate nature typical of French painting at the turn of the 17th and 18th centuries and the choice of warm, light and bright colors.
- Creator:Nicolas de Largillière (Parigi, 1656 – 1746) (French)
- Creation Year:18th 18th Century
- Dimensions:Height: 23.63 in (60 cm)Width: 16.54 in (42 cm)
- More Editions & Sizes:cm 60 x 42Price: $11,905
- Medium:
- Period:
- Condition:
- Gallery Location:Milan, IT
- Reference Number:1stDibs: LU2639216764052
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