Vodnik po študentskem umetniškem delu
Avtorske pravice To del je v javni domeni. Joseph Parrocel je umrl/a leta 1704; avtorska pravica velja 70 let po smrti avtorja, zato je pretekla leta 1774.
V kontekstu
The Return From The Hunt — Joseph Parrocel
Zgornja vrstica: leta. Spodnja vrstica: starost umetnika na začetku in koncu vsakega obdobja — 0 ob rojstvu, 58 ob smrti.
Osenčeno: življenjsko obdobje Joseph Parrocel (1646–1704) vsaka datirana slika, desetletje za desetletjem
Za ta posnetek ni v evidenci natančne leta — glede na življenjsko dobo umetnika in slog dela, za katero desetletje bi ugledali?
Izberite eno od zgoraj navedenih del: navedite dve stvari, ki sta si z njim skupni, in eno stvar, ki je drugačna.
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Deset vodilnih držav
Na zemljevidu poiščite tri najtemnejše države. Ali se muzej, ki čuva to sliko, nahaja v kateri izmed njih? Zapišite en razlog, zakaj bi jo lahko obiskovali ljudje z daljave.
Skupaj ti deli predstavljajo 100,0% vse pozornosti, ki so platna te umetnice dobila v zadnjih dvanajst mesecih. Katalog vsebuje 20 del te umetnice, pri čemer je bilo 4 vsaj enkrat ogledanih. Ta slika zaseda 1 mesto med njimi, s 60,0% takšne pozornosti. Isto velja tudi za posamezne mesece
Stolpci merijo pozornost, ne kakovost. Izberite del na vrhu in ta: navedite eno stvar, ki bi lahko naredila sliko znano poleg tega, kako je dobro naslikana.
Umetnik in muzej
Rojen v Brignac-les-Bains, France
Joseph Parrocel, a name resonating with the dynamism of the French Baroque, was more than just a painter of battles; he was a chronicler of an era defined by military grandeur and regal ambition. Born in 1646 in Brignoles, France, into a family steeped in artistic tradition – a lineage boasting fourteen painters across six generations – Parrocel’s destiny seemed preordained. His grandfather, Georges Parrocel, and father, Barthélemy Parrocel, both wielded brushes before him, though few examples of their work survive today, leaving Joseph to build his own formidable legacy. The early loss of his father in 1660 thrust the young artist into the care of his elder brother, Louis, already an established painter in Languedoc. This initial tutelage was short-lived; a restless spirit led thirteen-year-old Joseph to flee to Marseille, where his talent quickly garnered attention and secured him commissions for scenes depicting the life of Saint Anthony of Padua.
Parrocel’s artistic journey was one of constant seeking and refinement. After a brief return to Provence, he ventured to Paris, spending four years honing his skills before embarking on an eight-year sojourn in Italy. It was in Rome that he found mentorship under Jacques Courtois, known as “le Bourguignon” or “il Borgognone,” a master of battle scenes himself. This apprenticeship proved pivotal, shaping Parrocel’s understanding of dramatic composition and the depiction of military conflict. He also absorbed the influence of Salvator Rosa, an artist whose proto-Romantic sensibilities added a layer of emotional intensity to his work. Traveling through Italy, he eventually reached Venice, but a harrowing attempted murder on the Rialto Bridge prompted a swift return to France in 1675. This experience, though traumatic, did not diminish his artistic vision; rather, it seemed to fuel a determination to establish himself as a leading painter in Paris.
Parrocel’s arrival in Paris marked the beginning of his ascent to prominence. His talent was quickly recognized by the Académie Royale de Peinture et de Sculpture, where he was elected a member in 1676 and formally admitted as an academician later that same year with his compelling depiction of the “Siege of Maastricht.” This acceptance opened doors to prestigious royal commissions, though not without navigating the complex politics of the French court. While Charles Le Brun, head of the Academy, initially resisted Parrocel’s involvement in tapestry designs for the Gobelins manufactory, the Marquis de Louvois, Secretary of State for War, recognized his exceptional talent and entrusted him with decorating a dining hall at Les Invalides with scenes celebrating Louis XIV's conquests. This commission proved to be a turning point, leading to further opportunities to adorn the Château de Marly and, most notably, the Palace of Versailles.
Parrocel’s career wasn’t without its challenges. A dispute over unpaid commissions led to an audacious act – obtaining a warrant for the arrest of Mansart, the king's chief architect, while he was traveling in his coach. Though this bold move initially caused friction, Parrocel ultimately triumphed when Louis XIV, captivated by his painting “Crossing of the Rhine,” ordered it displayed prominently in the "Grand Salon du Conseil" at Versailles. Despite participating in only one official Salon exhibition in 1699, showcasing twelve paintings, Parrocel’s impact was substantial. He wasn't solely a painter of battles; he also explored landscapes, historical subjects, and religious themes, including “The Temptation of St. Peter in the Desert.” Notably, his "The Fair at Bezons" (1700) foreshadowed the fêtes galantes style later perfected by Antoine Watteau, and he was among the first to dedicate himself to hunting scenes. His approach differed from that of Adam Frans van der Meulen, a contemporary academician, through a more original and vivid execution characterized by broad, energetic brushstrokes and intense colors. Parrocel’s legacy extended within his family; he mentored his sons Jean Joseph and Charles, both of whom became artists, as well as his nephews Jacques-Ignace and Pierre. His prolific output included over ninety prints and engravings, many now housed in the Louvre, ensuring that his dynamic vision continues to inspire awe centuries later.
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The Return From The Hunt — Joseph Parrocel
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Delo "The Return From The Hunt" avtorja Joseph Parrocel si lahko ogledate v obliki diaporame na strani Slidešov za to umetniško delo.
"The Return From The Hunt" avtorja Joseph Parrocel je v javni domeni – avtorska pravica je zastarela. Avtorske pravice se izračunajo od smrti umetnika, ki je umrl leta 1704.
Splošno je "The Return From The Hunt" zabeleženo kot shadow. Zaznana svetlina opisuje, kako svetlo ali temno delo deluje.