Nicolas de Largillière

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Largillière, Nicolas de

 

Baptized Oct. 10, 1656, in Paris; died there Mar. 20, 1746. French painter.

Largillière studied in Antwerp and in London with P. Lely from 1674. He worked in France from 1678. Influenced by P. P. Rubens, Largillière’s work anticipated the rococo. He painted idealized, opulent scenes of the Parisian aristocracy and bourgeoisie—for example, Session of the Parisian Town Council in 1687 (study, Hermitage, in Leningrad). But his intimate portraits subtly reveal his models’ individual characteristics—for example, Voltaire, (c. 1718, Musée Carnavale, in Paris). Largillière also did still lifes and historical and religious works. His mature paintings are noted for a vivid and refined palette.

REFERENCES

Smith, J. (van Rensselaer). Nicolas Largillière: A Painter of the Régence. Minneapolis, 1964.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
The ensuing article singled out the University of Cambridge, and namely the Fitzwilliam Museum, for its acquisitions of a '1 million [pounds sterling] marble bust of Queen Victoria' (as though the sculpture were made out of money) and a portrait by Nicolas de Largilliere.
Um homem de Ornans, um campones fechado em seu caixao se permite reunir no seu enterro uma multidao consideravel: camponeses, pessoas de baixo nivel social, e se da, a esse enterro, a importancia que Largilliere tinha o direito de dar a magistrados que iam a missa do Espirito Santo.
Another painting dating from that early period, the portrait of the author of the "Caracteres" La Bruyere, 1775, no dimensions given, Musee de Versailles displays the influence of Nicolas de Largilliere, 1656-1746, and Hyacinthe Rigaud, 1659-1743, who had also painted portraits of that personality.
Credited with inspiring Louis XIV's lifelong interest in and patronage of the arts and Le Bruns appointment as First Painter to the king, Les Reines de Perse was so identified with the artist's success that it figures in Nicolas de Largilliere's portrait of Le Brun painted in 1686 (an engraving of Les Reines de Perse is partially visible in the portrait, flopping over the side of the artist's desk).
Honorary bridesmaids were Ashley Atkins Gilbert, also a Scripture reader; Kristen Lowry Blackard; Lauren Elizabeth Bee, cousin of the bride and the bride's proxy; Janie Maria Irvin, also a scripture reader; Cassie Olsen Largilliere; and Lesley Orlansky Poole Junior attendants were Chesney Blair Fails and Karlee Elizabeth Fails, nieces of the bride.
He ordered the painter Nicolas de Largilliere to produce a large picture showing him, the Queen and the Prince of Wales, which was on permanent display in his antechamber.
(The academician Nicolas de Largilliere is said to have thought Chardin was a talented young Fleming when he first saw his work.) "The Teniers of our day," one enthusiast wrote, and an anonymous reviewer for Mercure de France in 1761 was even more extravagant: "Dutch patience has never copied nature more faithfully, no Italian genius has ever rendered it more vigorously; the combination must astonish anyone who thinks about it."
Several passing academicians, including La Tour, saw his canvases and persuaded him to seek membership of the Academie Royale de Peinture, which was granted with applause, particularly from Nicolas de Largilliere, an admirer of Dutch still-life painting; although granted only in the lower rank assigned to painters of still-life and genre.