Le début de la carrière parisienne de Simon Vouet: précisions, propositions
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Benoît Dauvergne [1]
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[1] Université de Paris-Sorbonne, Centre André Chastel
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- Localización: Revue de l'art, ISSN 0035-1326, Nº. 195, 2017, págs. 53-62
- Idioma: francés
- Texto completo no disponible (Saber más ...)
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Resumen
The Beginning of Simon Vouet's Parisian Career: Precisions, Propositions.
Having returned to his native land in November 1627, after fifteen years spent in Italy, Simon Vouet invigorated French painting by designing major decorations, mainly for Richelieu and for his "creatures". However, this moment of renewal does not exactly correspond to that of the return of the artist, who seems to have been recalled by Marie de Medici. It was for the Queen Mother's entourage and for the "parti dévot" animated by Michael de Marillac, that the artist seems to have executed the very first works of his Parisian career -portraits and especially two altarpieces with innovative compositions: "L'Assomption" in the church of Saint Nicolas des Champs and "La Nativité aux Anges" in the carmel of the Rue Saint Jacques. But the "Journée des Dupes", when, in November 1630, Richelieu triumphed against Marie de Medici and Marillac, obliged Vouet to move closer to Louis XIII and to serve -and to seduce- a whole other milieu.
