Lot

30

PHILIPPE DE CHAMPAIGNE - Huile sur toile

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PHILIPPE DE CHAMPAIGNE - Huile sur toile
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Binningen
PHILIPPE DE CHAMPAIGNE , BRUSSELS, 1602 - PARIS, 1674

Portrait of Hardouin Beaumont de Pérefixe (1606-1671)

Oil on canvas 71 x 54.5 cm.

At the centre of the composition, following a classic pyramid scheme, this prelate imposes his presence and his prestige, adorned with the attributes of social and ecclesiastical success. Thus, on his purple moiré robe, reserved for bishops, he displays the prestigious royal decoration of the cross of the Order of the Holy Spirit, added to the portrait at a later date. A former tutor to King Louis XIV, bishop of Rodez and then archbishop of Paris, this churchman was an eminent figure in the kingdom, which enabled him to be portrayed by the official court painter, Philippe de Champaigne. However, this portraitist, who was accustomed to the great people of the world, knew how to depict his subjects with a psychological acuity that shows both their humanity and their social rank. Thus, the gaze of this aristocrat reveals a certain humility that is contradicted by his posture and attire. The slightly lowered, sideways gaze avoids confrontation with the viewer. The grey, neutral background also lends an austerity to this man who was also an ardent enemy of Jansenism, forcing the nuns of Port-Royal to sign the 'form' refuting their theses, which were considered heretical. He was also the censor of Molière's Tartuffe.


Philippe de Champaigne (1602-1674) was a French painter considered the leader of French classicism. Born in Brussels, he came to Paris to train in the studio of Georges Lallemant at the age of 19, where he learned history painting. Noticed by Marie de Médicis, he became in 1628, 'ordinary painter of the queen mother' and realized many decorations with religious subjects for the palace of Luxembourg, then, for Richelieu, in the Palais-Cardinal and under the dome of the Sorbonne. Finally, he executed six paintings for the Val-de-Grâce, at the request of Anne of Austria. An excellent portraitist, he painted several portraits of Louis XIII and became the only painter authorised to paint Cardinal de Richelieu in the cardinal's robes, whom he portrayed on eleven occasions. In 1648, he was accepted as a founding member of the Royal Academy of Painting and Sculpture, where he gave numerous lectures, including the famous one on the painting Eliezer and Rebekah by Poussin, of whom he was a friend. A painter of austere and spiritual compositions, he became close to Jansenist circles and became the painter of Port-Royal, executing in particular the portraits of Arnaud d'Andilly and of the mother Angélique Arnauld. Sought after for his ability to capture psychological traits, he was also the portraitist of high society in the Grand siècle and, as such, painted this portrait of the Archbishop of Paris, who was nevertheless hostile to his own ideas.


Provenance: Comte d'Archiac de Dijon, Hôtel Drouot sale, Paris, 21 March 1867, lot 34.

Work reproduced in Philippe de Champaigne, José Gonçalvès, catalogue 2: Port-Royal, p. 45, no. 215 (M11 - 155) and in Philippe de Champaigne, sa vie, son oeuvre, catalogue raisonné, Bernard Dorival, 1976, nos. 384 and 385 (engravings).

Certificate: Bernard Dorival
Signatur: Dated lower right 'A 1660'
PHILIPPE DE CHAMPAIGNE , BRUSSELS, 1602 - PARIS, 1674

Portrait of Hardouin Beaumont de Pérefixe (1606-1671)

Oil on canvas 71 x 54.5 cm.

At the centre of the composition, following a classic pyramid scheme, this prelate imposes his presence and his prestige, adorned with the attributes of social and ecclesiastical success. Thus, on his purple moiré robe, reserved for bishops, he displays the prestigious royal decoration of the cross of the Order of the Holy Spirit, added to the portrait at a later date. A former tutor to King Louis XIV, bishop of Rodez and then archbishop of Paris, this churchman was an eminent figure in the kingdom, which enabled him to be portrayed by the official court painter, Philippe de Champaigne. However, this portraitist, who was accustomed to the great people of the world, knew how to depict his subjects with a psychological acuity that shows both their humanity and their social rank. Thus, the gaze of this aristocrat reveals a certain humility that is contradicted by his posture and attire. The slightly lowered, sideways gaze avoids confrontation with the viewer. The grey, neutral background also lends an austerity to this man who was also an ardent enemy of Jansenism, forcing the nuns of Port-Royal to sign the 'form' refuting their theses, which were considered heretical. He was also the censor of Molière's Tartuffe.


Philippe de Champaigne (1602-1674) was a French painter considered the leader of French classicism. Born in Brussels, he came to Paris to train in the studio of Georges Lallemant at the age of 19, where he learned history painting. Noticed by Marie de Médicis, he became in 1628, 'ordinary painter of the queen mother' and realized many decorations with religious subjects for the palace of Luxembourg, then, for Richelieu, in the Palais-Cardinal and under the dome of the Sorbonne. Finally, he executed six paintings for the Val-de-Grâce, at the request of Anne of Austria. An excellent portraitist, he painted several portraits of Louis XIII and became the only painter authorised to paint Cardinal de Richelieu in the cardinal's robes, whom he portrayed on eleven occasions. In 1648, he was accepted as a founding member of the Royal Academy of Painting and Sculpture, where he gave numerous lectures, including the famous one on the painting Eliezer and Rebekah by Poussin, of whom he was a friend. A painter of austere and spiritual compositions, he became close to Jansenist circles and became the painter of Port-Royal, executing in particular the portraits of Arnaud d'Andilly and of the mother Angélique Arnauld. Sought after for his ability to capture psychological traits, he was also the portraitist of high society in the Grand siècle and, as such, painted this portrait of the Archbishop of Paris, who was nevertheless hostile to his own ideas.


Provenance: Comte d'Archiac de Dijon, Hôtel Drouot sale, Paris, 21 March 1867, lot 34.

Work reproduced in Philippe de Champaigne, José Gonçalvès, catalogue 2: Port-Royal, p. 45, no. 215 (M11 - 155) and in Philippe de Champaigne, sa vie, son oeuvre, catalogue raisonné, Bernard Dorival, 1976, nos. 384 and 385 (engravings).

Certificate: Bernard Dorival
Signatur: Dated lower right 'A 1660'

Galerie Dreyfus Auction

Sale Date(s)
Lots: 1-118
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Important Information

In addition to the auction price, the buyer shall pay commissions and taxes:

-to 250,000 CHF: 25%
-to 2,000,000 CHF: 20%
-above 2,000,001 CHF: 15%

+ VAT at the prevailing rate.
VAT on commissions and import costs may be retroceded to the successful bidder on presentation of proof of export outside SWITZERLAND.

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