Philippe de Champaigne

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Champaigne, Philippe de


Baptized May 26, 1602, in Brussels; died Aug. 12, 1674, in Paris. French painter.

Champaigne worked in Paris from 1621. He executed ornamental compositions in palaces and churches, notably those in the Luxembourg Palace, on which he collaborated with N. Poussin. Influenced by Jansenism, Champaigne painted religious scenes distinguished for their ascetic restraint, such as The Last Supper (1648, the Louvre, Paris). In his severe, penetrating portraits he combined elements of Flemish realism and early French classicism; of special note are his likenesses of A. J. Richelieu, J. Mazarin, and A. d’Andilly. Champaigne also painted group portraits, notably, Two Nuns (1662, the Louvre).


Mabille de Poncheville, A. Philippe de Champaigne. Paris, 1938.
Dorival, B. Philippe de Champaigne: Catalogue, 2nd ed. Paris, 1952.
References in periodicals archive ?
Why Philippe de Champaigne, given a similarly utilitarian commission, should have represented Cardinal de Richelieu's bust at a slight angle, and then in two identical specular profiles, is not clear.
Para tracejar sua hipotese, o linguista frances realiza uma vigorosa analise dos quadros Peregrinos de Emaus e Ceia de Emaus, dos pintores Ticiano e Philippe de Champaigne, respectivamente.
Born in Brussels in 1602, Philippe de Champaigne settled in Paris in 1621 and enjoyed a rapid career rise under the patronage of the Queen Mother, Marie de' Medici.
Manuel de Oliveira solo nos proporciona como dato el retrato de la madre Angelique Arnaud; senal y destino de la heroina, esta pintura de Philippe de Champaigne transmite la severidad y la fascinacion de la gran herejia del siglo XVII en la que se vieron involucradas figuras de la talla de Blaise Pascal y Jean Racine.
More surprising in the records is the presence of that penetrating seventeenth-century artist Philippe de Champaigne, who was pursuing through the courts the recovery of a debt from the heirs of certain tenants.
Chapter 2 is devoted to representation (paintings, theatre, and books), and is perhaps the least satisfying chapter, for two main reasons: first, no reference is made to music, surely an essential ingredient of representation within and of the Church; second (no doubt owing to economic considerations), none of the Poussin and Philippe de Champaigne paintings Phillips analyses (albeit with subtlety and perception) is reproduced.
Kolakowski's analysis of doctrine, particularly of the Five Propositions, is thorough and lucid, but his judgements are too often so subjective and sweeping as to arouse disquiet: `Jansenism was a religion not only without smiles and laughter, but also without art and even without intelligence, for all the intellectual brilliance of its leaders and the genius of Racine, Pascal and Philippe de Champaigne.
Despite this formidable range of interests, Louis Marin returned again and again to his chosen historical terrain, the seventeenth century of Pascal and Perrault, of Poussin and Philippe de Champaigne.
The somewhat surprising presence of Philippe de Champaigne in the same chapter is probably due to the difficulty of categorising him in the panorama of French painting of the period.
The four hundredth anniversary of the birth of Philippe de Champaigne came and went all but unnoticed.