Nicolas RéGNIER (Maubeuge ca. 1588-Venise 1657) Portrait présumé de Marie Farnèse Toile Presumed portrait of Mary Farnese, canvas 139 x 108,5 CM • 54 3/4 X 42 3/4 IN.
€100,000-120,000
Provenance Collection particulière en Allemagne; Vente anonyme, Londres, 16décembre 1999 (Sotheby's), n°63 (Forabosco). Bibliographie Annick Lemoine, Nicolas Régnier (alias Niccolò Renieri), ca. 1588-1667. Peintre, collectionneur et marchand d'art, Arthena, Paris, 2007, p.274, n°86, repr. en couleur p.115 Francesco Pettrucci, Ritratto barocco: dipinti del '600 e '700 nelle raccolte private, Villa d'Este (Tivoli, Italy) De Luca, 2008, repr. en couleur p.32 Annick Lemoine, Adeline Collange-Perugi, sous la direction de, Nicolas Régnier l'homme libre ca. 1588-1867, cat. exp., Musée d'Arts de Nantes, Lienart, Paris, 2017 (repro. en couleur p.31). Exposition Nicolas Régnier, L’homme libre, 1588-1667, musée d’arts de Nantes, 1erdécembre 2017 – 11mars 2018, n°31. Comme l’ont montré tout récemment l’exposition Nicolas Régnier, l’homme libre au musée d’art de Nantes et la monographie du même nom, la carrière de ce peintre se divise en deux périodes distinctes. La première période est celle de Rome durant laquelle il adopta le réalisme du Caravage et suivit l’enseignement de Bartolomeo Manfredi. En revanche, ici, ambitieuse dans son exécution, cette figure féminine incarne un très bon exemple de la seconde partie de sa carrière, celle du portraitiste plus baroque et lumineux, jouissant d’une renommée internationale auprès des cours d’Europe. L’œuvre puissante a été produite durant le séjour du peintre à Modène, où le jeune duc François Ier menait une active politique culturelle dans l’objectif de rétablir le prestige passé de sa famille. Régnier a brossé plusieurs portraits de courtisans à la cour d’Este dont celui de la comtesse Vittoria Bulgarini et deux grands portraits d’apparat célébrant la famille régnante. Le modèle, ici représenté dans un faste extrême, pourrait être Marie Farnèse, qui a épousé François Ier en 1638. De ce fait, la comparaison de cette œuvre et d’autres portraits de la jeune femme, comme le portrait monumental de la famille d’Este anciennement donné à Justus Sustermans et rendu à Nicolas Régnier (Galerie Estensi, Modène) ou encore celui exécuté par Matteo Loves (portrait de Marie Farnèse conservé au Musée d’Art et d’Histoire, Genève), semble attester cette supposition. Ici le peintre semble avoir attaché autant d’importance au rendu physique des traits qu’aux attributs de statut social minutieusement inscrits dans le décor et la parure. On observe de manière flagrante un contraste élevé entre la puissance hiératique du personnage et le foisonnement d’ornements et d’effets de couleurs. Les rubans, boutons, dentelles et autres passementeries ont été méticuleusement reproduits par Régnier qui a pris soin de rehausser discrètement le chatoiement de chacune des perles par une touche de peinture blanche. Notons également la splendeur de la surprenante nature morte faisant partie de la coiffe de la protagoniste. Nous notons ce même soin extrême apporté au portrait d’une dame devant une vue de Venise, conservé à Madrid, Museo del Prado (toile, 215 x 145 CM) Par son baroque échevelé et son outrance visuelle cette toile s’avère brutalement moderne, annonçant presque les choix stylistiques de nos peintres contemporains tels que Fernando Botero. Provenance Private collection, Germany; Anonymous sale, London, December 16, 1999 (Sotheby's), No. 63 (Forabosco). Littérature Annick Lemoine, Nicolas Régnier (alias Niccolò Renieri), ca. 1588-1667. Painter, collector and art dealer, Arthena, Paris, 2007, p.274, n°86, color ill. p.115 Francesco Pettrucci, Ritratto barocco: dipinti del '600 e '700 nelle raccolte private, Villa d'Este (Tivoli, Italy) De Luca, 2008, color ill. p.32 Annick Lemoine, under the leadership of Adeline Collange-Perugi, Nicolas Régnier l'homme libre ca. 1588-1867, cat. exp., Nantes Fine Art Museum, Lienart, Paris, 2017 (color ill. p.31). Exhibitions Nicolas Régnier, L’homme libre, 1588 – 1667, Nantes Fine Art Museum, December 1, 2017 – March 11, 2018, n°31. As recently demonstrated by the exhibition Nicolas Régnier, l’homme libre at the Nantes Fine Art Museum and the monograph of the same name, the career of this painter is divided into two distinct periods. The first period is that of Rome during which he adopted Caravaggio’s realism and studied the teaching of Bartolomeo Manfredi. On the other hand, in our painting, the female figure, ambitious in its execution, perfectly illustrates the second part of Nicolas Régnier’s career, that of more baroque and luminous portraitist, enjoying international renown with the royal courts across Europe. This outstanding work was painted during Nicolas Régnier’s stay in Modena, where the young Duke François I aimed to restoring the past prestige of his family through an active cultural policy. Régnier executed several portraits of the d’Este court courtiers, including that of Countess Vittoria Bulgarini and two large ceremonial portraits celebrating the reigning family. Represented in an extreme splendor, the model of our painting could be Marie Farnese, who married François I in 1638. Hence, the comparison of this work and other portraits of the young woman, such as the monumental Portrait of the d’Este Family, previously attributed to Justus Sustermans and finally rendered to Nicolas Regnier (Galerie Estensi, Modena) or the one executed by Matteo Loves (Portrait of Marie Farnese now in the Art and History Museum, Geneva), seems to confirm this assumption. The painter here seems to have attached as much importance to the trueness of the model’s physical features as to the attributes of her social status minutely inscribed in the sumptuous decor and jewels. The hieratic power of the character goes in stark contrast to the profusion of ornaments and color effects. The ribbons, buttons, laces and other trimmings were meticulously reproduced by Régnier, who thoroughly enhanced the shimmer of each pearl with a discrete touch of white paint. One can also note the splendor of the surprising still life which is a part of the character’s headdress. The same extreme attention to the details may be seen in the portrait of A Lady in Front of a View of Venice, from Museo del Prado, Madrid (canvas, 215 x 145 CM - 84 5/8 x 57 1/8 in). The hectic baroque style and visual exuberance of the painting reveal its astonishing modernity, portending stylistic choices of the contemporary painters such as Fernando Botero.
Provenance Collection particulière en Allemagne; Vente anonyme, Londres, 16décembre 1999 (Sotheby's), n°63 (Forabosco). Bibliographie Annick Lemoine, Nicolas Régnier (alias Niccolò Renieri), ca. 1588-1667. Peintre, collectionneur et marchand d'art, Arthena, Paris, 2007, p.274, n°86, repr. en couleur p.115 Francesco Pettrucci, Ritratto barocco: dipinti del '600 e '700 nelle raccolte private, Villa d'Este (Tivoli, Italy) De Luca, 2008, repr. en couleur p.32 Annick Lemoine, Adeline Collange-Perugi, sous la direction de, Nicolas Régnier l'homme libre ca. 1588-1867, cat. exp., Musée d'Arts de Nantes, Lienart, Paris, 2017 (repro. en couleur p.31). Exposition Nicolas Régnier, L’homme libre, 1588-1667, musée d’arts de Nantes, 1erdécembre 2017 – 11mars 2018, n°31. Comme l’ont montré tout récemment l’exposition Nicolas Régnier, l’homme libre au musée d’art de Nantes et la monographie du même nom, la carrière de ce peintre se divise en deux périodes distinctes. La première période est celle de Rome durant laquelle il adopta le réalisme du Caravage et suivit l’enseignement de Bartolomeo Manfredi. En revanche, ici, ambitieuse dans son exécution, cette figure féminine incarne un très bon exemple de la seconde partie de sa carrière, celle du portraitiste plus baroque et lumineux, jouissant d’une renommée internationale auprès des cours d’Europe. L’œuvre puissante a été produite durant le séjour du peintre à Modène, où le jeune duc François Ier menait une active politique culturelle dans l’objectif de rétablir le prestige passé de sa famille. Régnier a brossé plusieurs portraits de courtisans à la cour d’Este dont celui de la comtesse Vittoria Bulgarini et deux grands portraits d’apparat célébrant la famille régnante. Le modèle, ici représenté dans un faste extrême, pourrait être Marie Farnèse, qui a épousé François Ier en 1638. De ce fait, la comparaison de cette œuvre et d’autres portraits de la jeune femme, comme le portrait monumental de la famille d’Este anciennement donné à Justus Sustermans et rendu à Nicolas Régnier (Galerie Estensi, Modène) ou encore celui exécuté par Matteo Loves (portrait de Marie Farnèse conservé au Musée d’Art et d’Histoire, Genève), semble attester cette supposition. Ici le peintre semble avoir attaché autant d’importance au rendu physique des traits qu’aux attributs de statut social minutieusement inscrits dans le décor et la parure. On observe de manière flagrante un contraste élevé entre la puissance hiératique du personnage et le foisonnement d’ornements et d’effets de couleurs. Les rubans, boutons, dentelles et autres passementeries ont été méticuleusement reproduits par Régnier qui a pris soin de rehausser discrètement le chatoiement de chacune des perles par une touche de peinture blanche. Notons également la splendeur de la surprenante nature morte faisant partie de la coiffe de la protagoniste. Nous notons ce même soin extrême apporté au portrait d’une dame devant une vue de Venise, conservé à Madrid, Museo del Prado (toile, 215 x 145 CM) Par son baroque échevelé et son outrance visuelle cette toile s’avère brutalement moderne, annonçant presque les choix stylistiques de nos peintres contemporains tels que Fernando Botero. Provenance Private collection, Germany; Anonymous sale, London, December 16, 1999 (Sotheby's), No. 63 (Forabosco). Littérature Annick Lemoine, Nicolas Régnier (alias Niccolò Renieri), ca. 1588-1667. Painter, collector and art dealer, Arthena, Paris, 2007, p.274, n°86, color ill. p.115 Francesco Pettrucci, Ritratto barocco: dipinti del '600 e '700 nelle raccolte private, Villa d'Este (Tivoli, Italy) De Luca, 2008, color ill. p.32 Annick Lemoine, under the leadership of Adeline Collange-Perugi, Nicolas Régnier l'homme libre ca. 1588-1867, cat. exp., Nantes Fine Art Museum, Lienart, Paris, 2017 (color ill. p.31). Exhibitions Nicolas Régnier, L’homme libre, 1588 – 1667, Nantes Fine Art Museum, December 1, 2017 – March 11, 2018, n°31. As recently demonstrated by the exhibition Nicolas Régnier, l’homme libre at the Nantes Fine Art Museum and the monograph of the same name, the career of this painter is divided into two distinct periods. The first period is that of Rome during which he adopted Caravaggio’s realism and studied the teaching of Bartolomeo Manfredi. On the other hand, in our painting, the female figure, ambitious in its execution, perfectly illustrates the second part of Nicolas Régnier’s career, that of more baroque and luminous portraitist, enjoying international renown with the royal courts across Europe. This outstanding work was painted during Nicolas Régnier’s stay in Modena, where the young Duke François I aimed to restoring the past prestige of his family through an active cultural policy. Régnier executed several portraits of the d’Este court courtiers, including that of Countess Vittoria Bulgarini and two large ceremonial portraits celebrating the reigning family. Represented in an extreme splendor, the model of our painting could be Marie Farnese, who married François I in 1638. Hence, the comparison of this work and other portraits of the young woman, such as the monumental Portrait of the d’Este Family, previously attributed to Justus Sustermans and finally rendered to Nicolas Regnier (Galerie Estensi, Modena) or the one executed by Matteo Loves (Portrait of Marie Farnese now in the Art and History Museum, Geneva), seems to confirm this assumption. The painter here seems to have attached as much importance to the trueness of the model’s physical features as to the attributes of her social status minutely inscribed in the sumptuous decor and jewels. The hieratic power of the character goes in stark contrast to the profusion of ornaments and color effects. The ribbons, buttons, laces and other trimmings were meticulously reproduced by Régnier, who thoroughly enhanced the shimmer of each pearl with a discrete touch of white paint. One can also note the splendor of the surprising still life which is a part of the character’s headdress. The same extreme attention to the details may be seen in the portrait of A Lady in Front of a View of Venice, from Museo del Prado, Madrid (canvas, 215 x 145 CM - 84 5/8 x 57 1/8 in). The hectic baroque style and visual exuberance of the painting reveal its astonishing modernity, portending stylistic choices of the contemporary painters such as Fernando Botero.
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Japan
Kenya
Kyrgyzstan
Cambodia
Kiribati
Comoros
Saint Kitts and Nevis
North Korea
South Korea
Kuwait
Cayman Islands
Kazakhstan
Laos
Lebanon
Saint Lucia
Liechtenstein
Sri Lanka
Liberia
Lesotho
Lithuania
Luxembourg
Latvia
Libya
Morocco
Monaco
Moldova
Montenegro
Saint Martin (French Part)
Madagascar
Marshall Islands
North Macedonia
Mali
Myanmar
Mongolia
Macao
Northern Mariana Islands
Martinique
Mauritania
Montserrat
Malta
Mauritius
Maldives
Malawi
Mexico
Malaysia
Mozambique
Namibia
New Caledonia
Niger
Norfolk Island
Nigeria
Nicaragua
Netherlands
Norway
Nepal
Nauru
Niue
New Zealand
Oman
Panama
Peru
French Polynesia
Papua New Guinea
Philippines
Pakistan
Poland
Saint Pierre and Miquelon
Puerto Rico
Palestine
Portugal
Palau
Paraguay
Qatar
Reunion
Romania
Serbia
Russia
Rwanda
Saudi Arabia
Solomon Islands
Seychelles
Sudan
Sweden
Singapore
Saint Helena
Slovenia
Svalbard and Jan Mayen
Slovakia
Sierra Leone
San Marino
Senegal
Somalia
Suriname
South Sudan
Sao Tome and Principe
El Salvador
Sint Maarten
Syria
Swaziland
Tristan da Cunha
Turks and Caicos Islands
Chad
Togo
Thailand
Tajikistan
Tokelau
Timor-Leste
Turkmenistan
Tunisia
Tonga
Turkey
Trinidad and Tobago
Tuvalu
Taiwan
Tanzania
Ukraine
Uganda
United States
Uruguay
Uzbekistan
Holy See (Vatican City State)
Saint Vincent and the Grenadines
Venezuela
Virgin Islands, British
Virgin Islands, U.S.
Vietnam
Vanuatu
Wallis and Futuna
Samoa
Kosovo
Yemen
Mayotte
South Africa
Zambia
Zimbabwe
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