Charles-André van Loo
Charles-André van Loo | |
|---|---|
 Portrait by Pierre Le Sueur, 1747 | |
| Born | 15 February 1705 |
| Died | 15 July 1765 (aged 60) |
| Education | Benedetto Luti, Rome; Académie Royale, Paris |
| Known for | Painter |
| Movement | Orientalist; Modern French school |
Carle or Charles-André van Loo (French pronunciation: [ʃaʁl ɑ̃dʁe vɑ̃ lo]; 15 February 1705 – 15 July 1765) was a French painter, son of the painter Louis-Abraham van Loo, a younger brother of Jean-Baptiste van Loo and grandson of Jacob van Loo. He was the most famous member of a successful dynasty of painters of Dutch origin. His oeuvre includes every category: religion, history painting, mythology, portraiture, allegory, and genre scenes.[1]
Life
He was born in Nice, then part of the Duchy of Savoy. Van Loo followed his brother Jean-Baptiste to Turin, and then to Rome in 1712, where he studied under Benedetto Luti and the sculptor Pierre Le Gros. After leaving Italy in 1723, he worked in Paris, studied at the Académie Royale, where he gained first prize for drawing in 1723, and received the first prize for historical painting in 1727[2]—as did his future rival François Boucher. In 1724 he won the Prix de Rome.
After again visiting Turin in 1727, he was employed by king Victor Amadeus II of Sardinia, for whom he painted a series of subjects illustrative of Torquato Tasso. In 1734 he settled in Paris, and in 1735 became a member of the Académie royale de peinture et de sculpture[2] and rose rapidly in the hierarchy of the academy. Madame de Pompadour and the French court were taking the artist under their patronage.[citation needed] He was decorated with the Order of Saint Michael and named First Painter to king Louis XV of France in 1762.[2] He was a most successful court painter but his portraits as well as history paintings also enjoyed an enormous success throughout all Europe. He died in Paris on 15 July 1765.[1][3]
Work
By his simplicity of style and correctness of design, the result of his study of the great Italian masters, he did much to purify the modern French school; but the praise that was later lavished upon his productions now appears undue and excessive.[2] His patrons included members of the court, the Gobelins factory, private individuals, and the church. In the ensuing centuries, Van Loo's critical fortune has plummeted, although his ability remains admirable, and the quality and variety of his work command respect. His Marriage of the Virgin is preserved in the Louvre.[1][3]
Paintings
Painting, 1752-1753, Legion of Honor, San Francisco
Architecture, 1752-1753, Legion of Honor, San Francisco
Sculpture, 1752-1753, Legion of Honor, San Francisco
Music, 1752-1753, Legion of Honor, San Francisco
Saint Andrew
Portrait of Innocente Guillemette de Rosnyvinen de Pire, 1762
Perseus and Andromeda
Marie Leczinska, Queen of France (1703-1768), 1747, Versailles
Louis XV (1710-1774)
La Marquise de Pompadour, 1754-1755, Versailles, Petit Trianon
The Three Graces, 1763
Portrait of William 1st Viscount Bateman
Mercury and Argus
The Victory of Alexander over Porus
Theseus Taming the Bull of Marathon
Baccus et Ariane
The Adoration of the Magi
References
- ^ a b c Charles-André van Loo at the Encyclopædia Britannica
- ^ a b c d One or more of the preceding sentences incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Vanloo, Charles Andrew". Encyclopædia Britannica. Vol. 27 (11th ed.). Cambridge University Press. p. 895.
- ^ a b "LACMA Charles-André Vanloo". collections.lacma.org. Retrieved March 7, 2015.
External links
Media related to Charles André van Loo at Wikimedia Commons
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