Parrocel, Joseph

French, 1646-1704 He studied with his father Barthelemy Parrocel (1595-1660) and then with his elder brother Louis Parrocel (1634-94). He went to Paris for four years to perfect his work and then, c. 1667, to Rome, where he became the pupil of the battle painter Jacques Courtois and was influenced by Salvator Rosa. He remained in Italy for eight years and stayed for a time in Venice, before returning to settle in Paris in 1675. He was approved (agree) by the Academie Royale de Peinture et de Sculpture in February 1676 and received as a full member in November of the same year, presenting the Siege of Maastricht (Draguignan, Mus. Mun.). His painted oeuvre consists principally of military scenes, particularly battles, and he received numerous royal commissions. In the period 1685-8 he executed 11 paintings for the Salle du Grand Couvert at the cheteau of Versailles (nine in situ; one in Tours, Mus. B.-A.; one in Dijon, Mus. B.-A.); in 1699 he painted the Crossing of the Rhine (Paris, Louvre.) for the cheteau of Marly, Yvelines, and in 1700 he executed the Fair at Bezons (Tours, Mus. B.-A.), anticipating the fetes galantes of Antoine Watteau. He was also the author of a number of hunting scenes . His most important religious paintings were the May of Notre-Dame de Paris of 1694, St John the Baptist Preaching (Arras, Mus. B.-A.) and St Augustin Succouring the Sick (c. 1703; Nantes, Mus. B.-A.), which was intended for the monastery in the Place des Victoires in Paris. He also contributed battle scenes to the backgrounds of portraits by Hyacinthe Rigaud and by Gabriel Blanchard. His technique was highly original in the context of his time; he employed a very free style of execution and used thick impasto and intense colours. He was also a prolific engraver, producing around 100 plates,


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Parrocel, Joseph Cavalry Battle oil


Cavalry Battle
Painting ID::  19765
Cavalry Battle
Oil on canvas Galleria degli Uffizi, Florence.
Oil_on_canvas Galleria_degli_Uffizi,_Florence.
   
   
     

Parrocel, Joseph The Return from the Hunt oil


The Return from the Hunt
Painting ID::  19766
The Return from the Hunt
1700 Oil on canvas National Gallery, London.
1700 Oil_on_canvas National_Gallery,_London.
   
   
     

Parrocel, Joseph Crossing of the Rhine by the Army of Louis XIV on 12 June (mk05) oil


Crossing of the Rhine by the Army of Louis XIV on 12 June (mk05)
Painting ID::  20651
Crossing of the Rhine by the Army of Louis XIV on 12 June (mk05)
1672 Canvas 92 1/4 x 64 1/2''(234 x 164 cm)Painted for the Chateau de Marly in 1699;collection of Louis XIV
   
   
     

Parrocel, Joseph Cavalry Battle oil


Cavalry Battle
Painting ID::  30046
Cavalry Battle
mk67 Oil on canvas 19 11/16x26 3/8in Uffiz,Gallery
mk67 Oil_on_canvas 19_11/16x26_3/8in Uffiz,Gallery
   
   
     

Parrocel, Joseph The Return from the Hunt oil


The Return from the Hunt
Painting ID::  43235
The Return from the Hunt
mk170 circa 1700 Oil on canvas 110.5x106cm
mk170 circa_1700 Oil_on_canvas 110.5x106cm
   
   
     

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     Parrocel, Joseph
     French, 1646-1704 He studied with his father Barthelemy Parrocel (1595-1660) and then with his elder brother Louis Parrocel (1634-94). He went to Paris for four years to perfect his work and then, c. 1667, to Rome, where he became the pupil of the battle painter Jacques Courtois and was influenced by Salvator Rosa. He remained in Italy for eight years and stayed for a time in Venice, before returning to settle in Paris in 1675. He was approved (agree) by the Academie Royale de Peinture et de Sculpture in February 1676 and received as a full member in November of the same year, presenting the Siege of Maastricht (Draguignan, Mus. Mun.). His painted oeuvre consists principally of military scenes, particularly battles, and he received numerous royal commissions. In the period 1685-8 he executed 11 paintings for the Salle du Grand Couvert at the cheteau of Versailles (nine in situ; one in Tours, Mus. B.-A.; one in Dijon, Mus. B.-A.); in 1699 he painted the Crossing of the Rhine (Paris, Louvre.) for the cheteau of Marly, Yvelines, and in 1700 he executed the Fair at Bezons (Tours, Mus. B.-A.), anticipating the fetes galantes of Antoine Watteau. He was also the author of a number of hunting scenes . His most important religious paintings were the May of Notre-Dame de Paris of 1694, St John the Baptist Preaching (Arras, Mus. B.-A.) and St Augustin Succouring the Sick (c. 1703; Nantes, Mus. B.-A.), which was intended for the monastery in the Place des Victoires in Paris. He also contributed battle scenes to the backgrounds of portraits by Hyacinthe Rigaud and by Gabriel Blanchard. His technique was highly original in the context of his time; he employed a very free style of execution and used thick impasto and intense colours. He was also a prolific engraver, producing around 100 plates,

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