Charles-André van Loo

Charles André van Loo, called Carle van Loo Carle or Vanloo, (* February 15, 1705 in Nice, † July 15, 1765 in Paris) was a French painter.

Life

He was the son of Louis Abraham van Loo (1656-1712), also a painter and originally from a Flemish family of artists ( his grandfather Jacob van Loo ( 1614-1670 ) was also a noted painter ), and ( 21 years) younger brother of the painter Jean -Baptiste van Loo ( 1684-1745 ). Carle made ​​his day a brilliant career and was the most famous painter of the dynasty of Van Loo 's in the 17th and 18th centuries.

Since he lost his father at the age of 7 he was raised by his brother Jean -Baptiste in his family, whom he followed to Turin and Rome in two trips to Italy ( 1712-1715 and 1716-1718 ). On the second of these trips, he received drawing lessons from the painter Benedetto Luti and the sculptor Pierre Legros studied. Various gallant and other adventures not prevented him from successfully studying painting, but left him quite uneducated otherwise. He is said to have been a pupil Pierre Gobert, a court painter to Louis XIV.

1720 he went to Paris, where his first oil painting was The Good Samaritan (1723 ). He assisted his brother in several orders, in particular the restoration of the gallery of Francis I in the Palace of Fontainebleau ( 1724). He received his first commission in 1725 with the presentation of Jesus in the Temple for the chapter house of Saint- Martin-des -Champs. For Jacob cleans his house in 1724, he received the Prix de Rome at the Academy before departure to Bethel.

With the price a Rome stay there at the French Academy was actually connected, but the Academy gave the money back, so he had to earn themselves a trip to Italy by drawing portraits and decorative paintings for the Paris Opera, so that he was only in May 1728 in Rome arrived at the same time as his future rival François Boucher and his nephew Louis -Michel van Loo (1707-1771) and Francois van Loo ( the sons of his brother Jean -Baptiste ). In Italy, he was known for his trompe l'oeil painting of ceiling paintings of mythological and religious scenes are known (eg La Glorification de saint Isidore, 1729 ), giving him the attention of Pope Benedict XIII. procured. His most important work at this time is his Aeneas carries Anchises ( 1729 ).

About Florence in 1732, he traveled to Turin, where he worked for King Charles III Emmanuell. of Sardinia Diana and her Nymphs rest from painting in the ceiling of the rooms of the Queen in the hunting lodge Stupinigi and a number of oil paintings for the Palazzo Reale in Turin.

1733 he returned because of the Polish Succession War to Paris, where he arrived in 1734. There he was in the Royal Art Academy ( Académie royale de peinture et de sculpture ), approved in August 1734 to 1735 its member, not least because of his painting Apollo flaying Marsyas. His career now made rapid progress. In 1737 he became professor at the Academy and was a series of mythological paintings (called dessus -de- porte, embedded in the wall paneling canvas painting ) of the princely living rooms of the Hôtel de Soubise commissioned. In 1747 he painted an allegorical composition Asia for the salon in the city apartment of Samuel -Jacques Bernard ( 1686-1753 ) in the Rue du Bac in Paris. At the same time he painted a series of religious paintings such as The Saint Charles Borromeo is the lepers, the Communion of 1743 for the Chapel of Saint -Marcel, the Cathedral of Notre Dame de Paris, The Adoration of the Angels (1751 ) for the Assumption chapel of the Church of Saint -Sulpice or six panel paintings with scenes from the life of St. Augustine for the choir of the church Petits Pères - ( 1746-1755 ). For the Parisian society, he was also with his portraits of people in the then-popular Turkish robes very fashionable.

Van Loo was equally supported by the Court and of Madame de Pompadour. 1736 he painted exotic hunting scenes for the gallery of Petits Appartements du Roi in the Palace of Versailles ( bear hunting and hunting the ostrich ), who are also Boucher imagined. 1744 he painted scenes for the office of the Dauphin at Versailles. 1747-1748 he painted two large portraits of the King and the Queen. He also worked regularly for the Pompadour and painted in 1764: Les Arts implorant la Destinée d' épargner la vie de Md. de Pompadour ( The Arts implore fate to spare the life of Md.de Pompadour ).

In April 1749, he became the first director of the École royale of élèves protégés. In 1754 he was elected rector and in June 1763 Director of the Academy. He was knighted in 1750 and appointed in 1751 to the Chevalier de l'Ordre de Saint -Michel. In June 1762, he became premier peintre du Roi (First Painter of the King). In 1764 he made ​​a short trip to London and died a year later at the height of his fame. His most famous student was Jean- Honoré Fragonard. Other students were Jean -Baptiste Deshays (1729-1765), the son of Boucher, Francois -Hubert Drouais (1727-1775), at the same time student of Boucher, Louis Jean François Lagrenée (1724-1805), Michael Nicolas- Bernard Lépicié (1735 -1784 ) and Johann Heinrich Tischbein the Elder ( 1722-1789 ).

He was with the soprano Antonia Christina van Loo (1704-1785), sister of the Italo- French violinist and composer Giovanni Battista Somis, married. They met in 1733 during his stay in Turin kennen.Das couple had two children, Marie Rosalie van Loo ( 1741-1762 ) and Jules Cesar Denis van Loo ( 1749-1821 ).

Major works

Carle van Loo worked for the court, the Manufacture des Gobelins, the church and for wealthy individuals in almost every genre: religious, historical, mythological and allegorical paintings, genre scenes (especially Turkish subjects ). Friedrich Melchior Grimm held him for the first painters of Europe and Voltaire put it on a par with Raphael. At the end of the 18th century his star was extinguished, and the student of Jacques -Louis David invented the epithet " vanlotter ".

Carle van Loo was a painter of masterful technique. In the " lighter " subjects he came although the popularity of his contemporaries to his great rival Boucher zoom, but his genre scenes such as the stop in the hunt in 1737 in the Louvre today deliver an authentic picture of court life of the time of Louis XV.

Mythological scenes and allegories

• Aeneas carries Anchises, 1729, Paris, Louvre.
• Theuseus tames the bull of Marathon, 1730, Los Angeles, Los Angeles County Museum of Art
• Bacchus and Ariadne, about 1732, private collection
• Apollo and Marsyas, 1735, Paris, University of the Arts ( Ecole nationale supérieure des beaux -arts )
• Perseus and Andromeda, ca 1735-1740, St. Petersburg, Hermitage.
• Alexander's victory against Porus, 1738, Los Angeles, Los Angeles County Museum of Art
• Interior decoration of the Hôtel de Soubise, Rue des Francs -Bourgeois, Paris: Mars and Venus (in situ);
• Mercury passes the woodcutters ax (in situ);
• Toilet of Venus (1738, in situ).

• The war
• The Earth
• The Bravery (La Valeur ).

Genre scenes

• La Chasse à l'Ours ( bear hunting ), 1736, Amiens, Musée de Picardie
• Halte de chasse ( Rest at the Hunt), 1737, Paris, Musée du Louvre.
• Picnic after the hunt, 1737, New York City, Metropolitan Museum of Art
• The Pasha can paint his mistress, 1737, Richmond, Virginia Museum of Fine Arts.
• The Sultan is a concert for his mistress, 1737, London, The Wallace Collection.
• Ostrich hunting, 1738, Amiens, Musée de Picardie
• The Spanish reading, 1754, St. Petersburg, Hermitage Museum

Religious painting

• The Good Samaritan, 1723, Montpellier, Musée Fabre
• Jacob cleans his house before his departure to Bethel, 1724
• The Presentation of Christ in the Temple, 1725, Lyon, Cathedrale Saint -Jean
• The glorification of the Holy Isidor, 1729, Rome, Church of San Isidoro
• The Saint Charles Borromeo is the lepers Communion, 1743, Paris, Notre -Dame
• Worshiping of angels, 1751, Brest, Musée des Beaux -Arts
• Conversion of St. Hubertus, 1758, Rambouillet, Saint- Lubin -et -Saint -Jean.
• Adoration of the Magi, 1760, Los Angeles, Los Angeles County Museum of Art
• Virgin Blue, 1765, Paris, Church of Saint- Merry.
• Martyrdom of Saint Etienne, Valenciennes, Musée des Beaux -Arts

Portraits

• Leczinska Marie, Queen of France (1703-1768), in 1747, the Palace of Versailles
• Louis XV. , 1748, Palace of Versailles
• Louis XV. , 1751, Palace of Versailles
• Portrait of Jacques- Germain Soufflot (1714-1781), Palace of Versailles
• Portrait of innocent Guillemette de Rosnyvinen de Pire, 1762, Rennes, Musée des Beaux -Arts