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).
(1.) Bertrand C, Largilliere
C, Zabot MT, Mathieu M, Vianey-Saban C.
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.
(17.) Carbillon L, Seince N, Largilliere
C, Bucourt M, Uzan M.
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.