French Painters and Art
All French Painters represent Art in their country as it evolved through the centuries. Click on painter's name to examine his oil paintings and also learn about his biography and creative life.
During the baroque era (17th and early 18th cent.) enthusiasm for classical antiquity, combined with a cult of rationalism, encouraged the development of a monumental and formalized art. The most important french artists were the landscape artists Nicolas Poussin and Claude Lorrain, who worked in Italy. Other major painters of the period include Simon Vouet, Philippe de Champaigne, George de la Tour, and the Le Nain brothers.
The French Academy was chartered in 1635, and the Gobelins tapestry factory was established in 1662. Typical of the decorative magnificence of the age was the painting of Charles Le Brun and Pierre Mignard and the sculpture of François Girardon, Pierre Puget, and Antoine Coysevox.
After the ascension of Louis XV baroque monumentality was replaced by the lighter, more animated spirit of the rococo, which had early manifestation in the art of J. A. Watteau. François Boucher and J. H. Fragonard succeeded Le Brun as official painters; their decorative, sensuous style was favored by the court but not adopted generally. The genre and still-life painter J. B. Chardin and the sculptor J. A. Houdon exhibited independent tendencies. J. L. David, at first was the king’s and later Napoleon's official painter.
After neoclassicism, no single style predominated France fine art in the early part of the century. Rather, individual artists gave definition to a variety of movements. J. A. D. Ingres succeeded David as leading academician and favored an essentially linear and meticulously finished style, in part inspired by a new enthusiasm for the art of the Italian Renaissance.
After the middle of the 19th cent. an enormously influential movement called Impressionism was formally launched with the exposition of 1874. This movement drew allegiance from a variety of highly individual french artists including Manet, Monet, Renoir, Degas, and Pissarro. Cezanne drew inspiration from the impressionist group, but he rejected their emphasis on transient effects and evolved an independent approach based on the expression of the fundamental characteristics of shapes and spatial effects. Toward the end of the 19th cent. a postimpressionist reaction arose France Fine Art in the work of Seurat, Van Gogh, Toulouse-Lautrec, and Gauguin.
The French Academy was chartered in 1635, and the Gobelins tapestry factory was established in 1662. Typical of the decorative magnificence of the age was the painting of Charles Le Brun and Pierre Mignard and the sculpture of François Girardon, Pierre Puget, and Antoine Coysevox.
After the ascension of Louis XV baroque monumentality was replaced by the lighter, more animated spirit of the rococo, which had early manifestation in the art of J. A. Watteau. François Boucher and J. H. Fragonard succeeded Le Brun as official painters; their decorative, sensuous style was favored by the court but not adopted generally. The genre and still-life painter J. B. Chardin and the sculptor J. A. Houdon exhibited independent tendencies. J. L. David, at first was the king’s and later Napoleon's official painter.
After neoclassicism, no single style predominated France fine art in the early part of the century. Rather, individual artists gave definition to a variety of movements. J. A. D. Ingres succeeded David as leading academician and favored an essentially linear and meticulously finished style, in part inspired by a new enthusiasm for the art of the Italian Renaissance.
After the middle of the 19th cent. an enormously influential movement called Impressionism was formally launched with the exposition of 1874. This movement drew allegiance from a variety of highly individual french artists including Manet, Monet, Renoir, Degas, and Pissarro. Cezanne drew inspiration from the impressionist group, but he rejected their emphasis on transient effects and evolved an independent approach based on the expression of the fundamental characteristics of shapes and spatial effects. Toward the end of the 19th cent. a postimpressionist reaction arose France Fine Art in the work of Seurat, Van Gogh, Toulouse-Lautrec, and Gauguin.