Vanloo Jean-Baptiste( Artist)
Comments for Vanloo Jean-Baptiste
Biography Vanloo Jean-Baptiste
Jean-Baptiste Vanloo (1684-1745) belongs to a broad family of French artists of the XVII-XVIII centuries, originating from the south. He was born in Aix, he learned from his father, Louis Vanloo and subsequently became a teacher of his son, Louis Michel.
Like many painters of his time, Vanloo worked on orders. He regarded art as an art form: he was master of his craft, but subordinate to the tastes of customers and did not try to show their own individuality. The main area of its work-mythological paintings and portraits of the nobility. Before he found himself in Paris, Jean-Baptiste Vanloo worked in Genoa, Turin, Rome, painted the ceiling fixtures in the castle in Rivoli. In 1720 he received regular orders for paintings in Paris in 1731 became a member of the Academy of Arts. Vanloo at this time, pet of the court aristocracy, he orders a portrait of the king, Louis XV. In the late 30-early 40-ies Vanloo conquers England, where he also wrote a series of portraits of courtiers.
. Known for his exploits adventuristic Giacomo Casanova left in the memoirs of a very precise notes on the portrait art of the first half of the eighteenth century
. For example, he tells of a certain fast grown rich artist who creates portraits, not seeing the model, as described. Casanova sets out three types of portraiture. First, in his opinion, this is one that conveys the exact resemblance, but may 'deface'. The second model reproduces perfectly. And, finally, the third is when the artist, passing resemblance to the model, making it more beautiful. This third type, which is more than the others liked Casanova, and was most common in the era of rococo type 'ennobling portrait'. Artists at that time actually painted portraits, if not the verbal description, it is often only cursory outline. Countess and awnings are not always wanted to spend a lot of time to pose for the artist and the portrait was to show their beauties. Therefore, the model rocaille portraits sometimes more similar to each other than themselves. Written female portraits Vanloo was a special master. He often represented his heroines in certain lofty images, for example, in the form of ancient goddesses, muses. Even in this one was a great way to flatter the lady pictured. Or, for example, depict a noble lady serious conversation with a small bird, which she keeps in the little finger, for example, in the Hermitage portrait. Dear fabric, . Customers in the revelry, . artist was able to transmit the refined pearl-gray, . wine-red, . densely crimson tones, . Stressing velvety velours, . glitter brocade, . shimmer pearls, . softness ermine skins or soft transparency Mechlin.,
. In the male portraits of painters rocaille more reserved, but there is more important for them to create a grand, lofty image, rather than talk about his model, to identify character traits of the person.
. Large male ceremonial portrait of Sir Robert Walpole, painted by Jean-Baptiste Vanloo, stored in the Hermitage
. Walpole is depicted on it in full growth, in the ceremonial garb. Portrait, probably refers to the period when Vanloo worked in London. Robert Walpole - English statesman, chief lord of the Treasury and Chancellor. He was the owner of Crown Castle Houghton Hall, where a large collection of paintings. In the second half XVm century, when the steel to form the first Russian museum, the Hermitage, and bought this collection. Along with other paintings came to the Hermitage and the portrait, depicting its former owner.
. Jean-Baptiste Vanloo, as well as his contemporaries, Jean-Marc Nattier, Louis Tocco, sculptor Jean-Jacques Kafferi, art historians often accused of superficiality, template salon flattery
. What can you do, it's not so much the fault of their own, how much of their time feature. They wrote (and society demanded that they write) are not people, and their secular mask. And if the mask of the court of the XVII century is an imposing, arrogance, pride, reflecting the self-perception as the embodiment of aristocratic dignity of the whole of France, the next century has reduced the former level of self-identity. Gallant Men, flirtatious and slightly infantile ladies no longer feel that they determine the fate of the fatherland. Stealth and the ability to hide their personal goals for the innocent mine the degree of success in palace intrigues. That's why we gaze with a faint smile on his character portraits Vanloo, who, indulging their models, involuntarily exposed to the history of techniques and conventions of their social game.