传记

早期的生活和训练

出生在巴黎,他吸引了注意总理Seguier放在他的11岁的工作室西蒙Vouet。他也是一个学生弗朗索瓦毕雷矿泉水。在十五他收到佣金红衣主教黎塞留,在执行显示的能力获得慷慨的嘉奖尼古拉斯·普桑,在他的公司Le Brun开始罗马在1642年。

他仍然在罗马四年收到养老金由于慷慨的财政大臣。他工作在普桑,适应后者的艺术理论。

1646年他回到巴黎,勒布伦发现了许多顾客,其中负责人Fouquet是最重要的,因为他画一个大的画像吗奥地利的安娜.在Vaux-le-Vicomte,Le Brun麦道夫本人Mazarin,然后偷偷地让科尔伯特反对Fouquet。科尔伯特也立即认出Le Brun组织的权力,和在他的利益。他们一起控制了绘画和雕塑学院(皇家Academie de peinture et de雕塑,1648)法国科学院在罗马(1666),给工业艺术的新发展。

Le Brun从事另一个项目酒店的兰伯特。天花板的画廊赫拉克勒斯是他画的。Le Brun开始工作在这个项目在1650年,他从意大利回来后不久。装饰持续超过12年左右,因为它被改造沃克斯勒子爵.

1660年,他们建立了那个可,这首先是一个伟大的学校制造,不是的挂毯只有,但所需的每个类家具在皇家宫殿。指挥工业艺术通过Gobelins-of他导演和整个艺术世界通过学院,他先后举行一次post-Le布朗印自己的角色都是法国生产的一生。他的创始人路易十四风格并给出一个方向在他死后经历了几个世纪的国家倾向。

成功的年

他着重的本质和浮夸的人才是在和谐与国王的味道,充满了钦佩的画作Le Brun他凯旋进入巴黎(1660年)和他的装饰城堡沃克斯勒子爵(1661),委托他来执行一系列的主题从亚历山大的历史。第一个,”亚历山大和大流士的家庭,“所以很高兴路易十四他立刻肃然起敬Le Brun(1662年12月),还创建了总理Peintre du Roi(第一个国王的画家)养老金12000里弗,他每年收到的相同服务的宏伟的Fouquet。国王宣布他“有史以来最伟大的法国术家时间”。

从这个日期都是在皇家宫殿Le Brun执导。在1663年,^[3]他成为主任Academie皇家de peinture et de雕塑,奠定了基础艺术院的作风并成为全能的,无与伦比的17世纪的法国艺术的大师。正是在这一时期,他专用的一系列作品的历史亚历山大大帝(亚历山大大帝的战斗),他没有错过机会更强联系的亚历山大和壮丽伟大的国王。在战斗时,Le Brun的风格变得更加个人当他离开古大师,影响他。

阿波罗的画廊的作品罗浮宫在1677年被打断时,他陪同国王弗兰德斯(在他的回来里尔他画的几个成分Chateau de Saint-Germain-en-Laye),最后为他们在他死于绝大劳动仍未完成凡尔赛宫大厅里,在那里他留给自己的《战争与和平》(沙龙de la Guerreand和平,1686),大使的楼梯,镜子大会堂(Galerie des追求,1679 - 1684)。Le Brun的装饰不仅是一件艺术品,它是统治的权威的纪念碑。

晚年

在科尔伯特的死,Francois-Michel le代表Louvois侯爵科尔伯特的敌人,成功作为公共工程部门负责人,没有显示出对Le Brun科尔伯特是谁的最爱,尽管国王的继续支持Le Brun感到痛苦的改变他的立场。这导致了疾病在1690年2月22日结束他的死在他的私人豪宅,在巴黎。

Le Brun和遗留的工作

Le Brun主要为国王路易十四,工作了他大执行圣坛雕刻和战争片。他最重要的作品在凡尔赛宫。除了他在凡尔赛宫,卢浮宫巨大的劳动,他的作品的数量为宗教公司和私人顾客是巨大的。Le Brun也不错肖像画家和一个优秀的制图员,但他不喜欢肖像或山水画,他觉得这是一个纯粹的运动在发展中技术实力。真正重要的是学术成分,其终极目标是滋养精神。Academy-based主任的基本依据他的艺术无疑是让他的画说话,通过一系列的符号,服装和手势,让他选择他的作文给了他的作的叙事元素特定的深度。勒布伦,一幅画代表一个人能读懂的故事。几乎所有他的作品再现了著名的雕刻。

在他死后出版的专著,方法倒学会来画les激情(1698),他在绘画促进了情感的表达。它有很多影响未来两个世纪的艺术理论。

他的许多画的罗浮宫和摩纳哥皇家收藏。他也是老师的画家卢多维Dorigny.

2013年1月23日,艺术顾问巴黎丽兹酒店约瑟夫·弗里德曼,万达Tymowska和宣布的发现的牺牲波吕克塞娜,一个早期的Le Brun工作。这幅图中,1647年,装饰可可·香奈儿套件著名的巴黎的宫殿,忽视了一个世纪。

Biography

Early life and training

Born in Paris, he attracted the notice of Chancellor Séguier, who placed him at the age of eleven in the studio of Simon Vouet. He was also a pupil of François Perrier. At fifteen he received commissions from Cardinal Richelieu, in the execution of which he displayed an ability which obtained the generous commendations of Nicolas Poussin, in whose company Le Brun started for Rome in 1642.

In Rome he remained four years in the receipt of a pension due to the liberality of the chancellor. There he worked under Poussin, adapting the latter's theories of art.

On his return to Paris in 1646, Le Brun found numerous patrons, of whom Superintendent Fouquet was the most important, for whom he painted a large portrait of Anne of Austria. Employed at Vaux-le-Vicomte, Le Brun ingratiated himself with Mazarin, then secretly pitting Colbert against Fouquet. Colbert also promptly recognized Le Brun's powers of organization, and attached him to his interests. Together they took control of the Academy of Painting and Sculpture (Académie royale de peinture et de sculpture, 1648), and the Academy of France at Rome (1666), and gave a new development to the industrial arts.

Another project Le Brun worked on was Hôtel Lambert. The ceiling in the gallery ofHercules was painted by him. Le Brun started work on the project in 1650, shortly after his return from Italy. The decoration continued intermittently over twelve years or so, as it was interrupted by the renovation of Vaux le Vicomte.

In 1660 they established the Gobelins, which at first was a great school for the manufacture, not of tapestries only, but of every class of furniture required in the royal palaces. Commanding the industrial arts through the Gobelins—of which he was director—and the whole artistic world through the Academy—in which he successively held every post—Le Brun imprinted his own character on all that was produced in France during his lifetime. He was the originator of Louis XIV Style and gave a direction to the national tendencies which endured centuries after his death.

Success years

The nature of his emphatic and pompous talent was in harmony with the taste of the king, who, full of admiration of the paintings by Le Brun for his triumphal entry into Paris (1660) and his decorations at the Château Vaux le Vicomte (1661), commissioned him to execute a series of subjects from the history of Alexander. The first of these, "Alexander and the Family of Darius," so delighted Louis XIV that he at once ennobled Le Brun (December, 1662), who was also created Premier Peintre du Roi (First Painter of the King) with a pension of 12,000 livres, the same amount as he had yearly received in the service of the magnificent Fouquet. The King had declared him "the greatest French artist of all time".

From this date all that was done in the royal palaces was directed by Le Brun. In 1663, he became director of the Académie royale de peinture et de sculpture, where he laid the basis of academicism and became the all-powerful, peerless master of 17th-century French art. It was during this period that he dedicated a series of works to the history of Alexander The Great (The Battles of Alexander The Great), and he did not miss the opportunity to make a stronger connection between the magnificence of Alexander and that of the great King. While he was working on The Battles, Le Brun's style became much more personal as he moved away from the ancient masters that influenced him.The works of the gallery of Apollo in the Louvre were interrupted in 1677 when he accompanied the king to Flanders(on his return from Lille he painted several compositions in the Château de Saint-Germain-en-Laye), and finally—for they remained unfinished at his death—by the vast labours ofVersailles, where he reserved for himself the Halls of War and Peace (Salons de la Guerreand de la Paix, 1686), the Ambassadors' Staircase, and the Great Hall of Mirrors (Galerie des Glaces, 1679–1684). Le Brun's decoration is not only a work of art, it is the definitive monument of a reign.

Later years

At the death of Colbert, François-Michel le Tellier, Marquis de Louvois, Colbert's enemy, who succeeded as superintendent in the department of public works, showed no favour to Le Brun who was Colbert's favorite, and in spite of the king's continued support Le Brun felt a bitter change in his position. This contributed to the illness which on 22 February 1690 ended in his death in his private mansion, in Paris.

Le Brun's work and legacy

Le Brun primarily worked for King Louis XIV, for whom he executed large altarpieces andbattle pieces. His most important paintings are at Versailles. Besides his gigantic labours at Versailles and the Louvre, the number of his works for religious corporations and private patrons is enormous. Le Brun was also a fine portraitist and an excellent draughtsman, but he was not fond of portrait or landscape painting, which he felt to be a mere exercise in developing technical prowess. What mattered was scholarly composition, whose ultimate goal was to nourish the spirit. The fundamental basis on which the director of the Academy-based his art was unquestionably to make his paintings speak, through a series of symbols, costumes and gestures that allowed him to select for his composition the narrative elements that gave his works a particular depth. For Le Brun, a painting represented a story one could read. Nearly all his compositions have been reproduced by celebrated engravers.

In his posthumously published treatise, Méthode pour apprendre à dessiner les passions (1698), he promoted the expression of the emotions in painting. It had much influence on art theory for the next two centuries.

Many of his drawings are in the Louvre and the Monaco Royal Collection. He was also the teacher of painter Ludovico Dorigny.

On 23 January 2013, artistic advisors for the Hôtel Ritz Paris, Wanda Tymowska and Joseph Friedman, announced the discovery of The Sacrifice of Polyxena, an early work of Le Brun. The picture, dated 1647, ornamented the Coco Chanel suite of the famous Parisian palace, and went unnoticed for over a century.