Null Two black engravings after VAN LOO : Spanish conversation - Spanish reading…

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Two black engravings after VAN LOO : Spanish conversation - Spanish reading.

58

Two black engravings after VAN LOO : Spanish conversation - Spanish reading.

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Estim. 20 - 30 EUR

CARL VAN LOO (1705-1765), after. The Spanish Conversation. Black engraving by BEAUVARLET. 54 x 40 cm at sight. (foxing, stains).

Estim. 60 000 - 80 000 EUR

Louis Michel VAN LOO (Toulon 1707 - Paris 1771) Carle Van Loo and his family On its original canvas 115 x 87 cm Our painting is a replica of the one exhibited at the Salon of 1757 and kept at the Ecole des Arts Décoratifs in Paris (canvas, 200 x 156 cm). Another replica is preserved at the Château de Versailles (canvas, 212 x 158 cm; see the catalog of the Musée National du Château de Versailles, les peintures, vol. II, Paris, 1995, no. 5077, reproduced). Louis Michel Van Loo, son of the painter Jean-Baptiste Van Loo, portrays his uncle Carle Van Loo drawing the portrait of his daughter Marie-Rosalie in the presence of his wife, the singer Christina-Antonia Somis, and their three sons: Jean-François, Charles and Jules-César-Denis. Inscriptions beneath two drawings of Carle and his wife tell us that "under his brush were born the Graces: he drew as she sang", "the loves flew in his footsteps: she sang as he drew" (see the exhibition catalog Carle Vanloo, premier peintre du roi, Nice, Clermont-Ferrand, Nancy, 1977, n°398, reproduced). According to Diderot, Carle Van Loo et sa famille and Portrait de Louis-Michel Van Loo avec sa sœur devant le portrait de leur père Jean-Baptiste Van Loo (in the Château de Versailles museum) were his greatest paintings. These large group portraits often pose a compositional problem, with unnatural frontal poses in which the figures stare at the viewer, as in François-Hubert Drouais's Family Portrait (now at the National Gallery of Art in Washington), painted a year before this one. Louis Michel Van Loo, on the other hand, depicts each model in a different way, some from the front, others from three-quarter view, others in profile. The figures are divided into two groups facing each other: four on the left and two on the right. Rather than looking at us, they converse with each other, allowing the viewer to catch a glimpse of the daily life of an artist's family as they pass on their skills from generation to generation. Louis Michel Van Loo used this type of composition again in his Portrait du marquis de Marigny et de sa femme, now in the Louvre (canvas, 130 x 97.5 cm, signed and dated 1769).

Estim. 200 - 300 EUR

19th century school. Portrait of Jean-Baptiste Boyer d'Argens after Carl Van Loo. Oil on canvas. 81 x 65 cm (Restorations). In a gilded wood and stucco channel frame.

Estim. 1 200 - 1 800 EUR

18th century FRENCH ECOLE Portrait of Louis XV, after J. B. van Loo Oil on canvas, lined. 81.5 x 65 cm

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