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18th Century portrait oil painting of a gentleman

C1750

$8,821.87List Price

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Attributed to Pierre Paul Prud’hon (French, 1758-1823) 'La belle musicienne' Oil on canvas, oval Signed ‘P. P. Prudon’ (lower left) 28.3/4 x 23.1/2 in. (73 x 59.5 cm.) Pierre Paul Prud'hon is considered a prime example of early French Romanticism. He was born as the seventh and last child of a master tailor. At the age of 16 he was a pupil of the painter and sculptor Francois Devosge. After finishing his studies he moved to Paris, where he first worked for an engraver and became friends with the Baron of Joursanvault, who became his patron. He also made a friendship with the "incorruptible", the politician and revolutionary Maximilien de Robespierre. Despite important friendships and the care of some cardinals, Prud'hon plunges into loneliness and melancholy. He has a good reputation and produces allegorical paintings, but his attachment to Robespierre forces him to leave the French capital. He now lives in the Free County of Burgundy, where he makes portraits and illustrations for Pierre Didot, the owner of the printing house. After a few years he moved back to Paris and his career received a new impetus. In the Louvre, Prud'hon is provided with a studio in which he paints "La sagesse et la vérité descendant sur la terre" (Wisdom and Truth descend to earth) for one year, as well as some ceilings of the Louvre. The government assigns him a studio in the Sorbonne, where his wife Jeanne, whom he married at the age of 19, comes looking for him. To escape her, he asks the museum director for protection. In 1808 he wrote "La justice et la vengeance divine poursuivant le crime" (Justice and divine revenge pursue the crime). In the same year he is also named Knight of the Legion of Honour and is able to break with his grumpy wife once and for all. He soon reconnects with his student and painter of neoclassicism Constance Mayer. Pierre is commissioned to paint a portrait of the Empress and wife of Napoleon, Joséphine de Beauharnais, which can still be seen today in the Louvre. He also paints the small "Roi de Rome" (King of Rome). In 1816 the Academy of Fine Arts elected him a member, where he took over the armchair in the painting section of François-André Vincent. A few years later his depressed wife commits suicide, and full of pain Prud'hon finishes her last work "Une famille malheureuse" (Engl. An Unhappy Family) and exhibits it. He himself dies soon afterwards and is buried in Paris. Many renowned artists admire Prud'hon for his "clair-obscur", the chiaroscuro painting...
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COUNTRY GIRL- W.A.Bouguereau- Italian Portarit of young peasant Oil on canvas
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18th Century portrait oil painting of a girl with an orange
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17th Century portrait oil painting of a gentleman
By John Riley
Located in Nr Broadway, Worcestershire
Circle of John Riley British, (1646-1691) Portrait of a Gentleman Oil on canvas Image size: 29 inches x 24 inches Size including frame: 36 inches x 31 inch...
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18th Century portrait oil painting of a lady in an ermine trimmed cloak
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Circle of Sir Godfrey Kneller Dutch, (1646-1723) Portrait of a Lady in an Ermine Trimmed Cloak Oil on canvas Image size: 26.5 inches x 22.5 inches Size including frame: 33.5 inches x 29.5 inches A well-executed half-length portrait of a lady painted in a feigned oval, circle of Sir Godfrey Kneller. The use of a feigned oval was a device used in portraiture to give a sense of depth and add an intimacy to the painting, drawing your attention to the sitter. The subject, posed without her wig in the undressed fashion of the day, wears a blue ermine trimmed blue cloak over a white silk robe...
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18th Century portrait oil painting of a gentleman
Located in Nr Broadway, Worcestershire
Follower of Enoch Seeman the Younger German, (1694-1744) Portrait of Gilbert Sympkin Oil on canvas Image size: 29.25 inches x 24.5 inches Size including frame: 38 inches x 33.25 inches A fine three quarter length portrait of a gentleman traditionally identified as Gilbert Simpkin (Sympkin), follower of Enoch Seeman the younger, C1720. The portrait is set in a feigned sculptured oval cartouche, a device used to give a sense of depth. The sitter is depicted wearing a fashionable blue jacket and matching waistcoat with a white chemise and lace jabot. He wears a powdered wig in the fashionable style of the day and is posed holding his hat under his left arm with the fingers of his right hand stretched out. At court, long fingers signified wealth, culture and intelligence. The painting has clearly been executed by an artist of great ability who has been influenced by Enoch Seeman the younger. Gilbert Simpkin (Sympkin) was born in London on 24 August 1683, the son of John Simpkin and Susannah Butler. His grandfather was also called Gilbert Simpkin. He entered Oxford University in 1700 where he studied at St John’s College. In 1702, he became a student of Middle Temple, which at the time was one of the world’s most important centres of legal education. He later settled in Plymouth and then Bristol. He died in Bristol on 15 May, 1744 and was buried at Bristol Cathedral. He remained unmarried and the portrait may well have been commissioned to commemorate when he was first Called to the Bar or perhaps had established his own practice. Enoch Seeman or Seemann the younger was born in Danzig, Germany now Gdansk, Poland in 1694. His father was Enoch Seeman Senior, an artist of Flemish origin and his brothers Isaac, Noah and Abraham also became artists. He came to London with his father and brothers around 1704 and established himself as a portrait artist. From 1717 he became painter to the Royal court painting...
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Located in Nr Broadway, Worcestershire
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