Null Antoine RENOU (1731-1806), after Carle van Loo

The Resurrection of Christ
…

Description

Antoine RENOU (1731-1806), after Carle van Loo The Resurrection of Christ Oil on canvas 62 x 38,5 cm Bears a label at the bottom: "Antoine RENOU, Born in 1731". Cracks Expert : Cabinet Turquin

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Antoine RENOU (1731-1806), after Carle van Loo The Resurrection of Christ Oil on canvas 62 x 38,5 cm Bears a label at the bottom: "Antoine RENOU, Born in 1731". Cracks Expert : Cabinet Turquin

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Estim. 1 500 - 2 000 EUR

Loo, Carle van (Kreis/Circle) Nizza 1705 - Paris 1765 63 x 113 cm Allegory of War and Peace. Oil/panel. From a Berlin collection.

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 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). Another replica is in the Musée des Arts Décoratifs in Paris. 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 by Carle and his wife tell us that "under his brush the Graces were born: 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). 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 (now in the Château de Versailles museum) were, according to Diderot, 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 in 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're talking to each other, and the viewer catches a glimpse into the daily life of an artist's family, busy passing down a skill from generation to generation. handing down a skill 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.

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