Raphael
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April 6 or March 28, 1483 – April 6, 1520. Italian painter.

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Here are all the paintings of VIGNON, Claude 01

ID Painting  Oil Pantings, Sorted from A to Z     Painting Description
9645 Croesus Receiving Tribute from a Lydian Peasant  et VIGNON, Claude Croesus Receiving Tribute from a Lydian Peasant et 1629 Oil on canvas, 105 x 149 cm Mus??e des Beaux-Arts, Tours
29653 Esther before Ahasuerus VIGNON, Claude Esther before Ahasuerus 1624 Oil on canvas, 80 x 119 cm
78167 Portrait of Francois Langlois VIGNON, Claude Portrait of Francois Langlois Date c. 1621 Medium Oil on canvas Dimensions 80 x 67 cm (31.5 x 26.4 in) cyf
20368 rThe Young Singer (mk05) VIGNON, Claude rThe Young Singer (mk05) 37 1/2 x 35 1/2''(95 x 90 cm).Given in 1966 R.F
54052 The Hills at Triel VIGNON, Claude The Hills at Triel mk235 c.1881 Oil on canvas 46.4x55.4cm
9646 The Young Singer  et VIGNON, Claude The Young Singer et 1622-23 Oil on canvas, 95 x 90 cm Mus??e du Louvre, Paris

VIGNON, Claude
French Baroque Era Painter, 1593-1670 French painter, printmaker and illustrator. Born into a prosperous family in Tours, he received his early training in Paris, probably in Jacob Bunel's studio. In 1609-10 he travelled to Rome; although his presence there is recorded only in 1618-20, he was probably based there throughout that decade, becoming a member of the community of young French artists that included Simon Vouet and Valentin de Boullogne. They were all predominantly influenced by the art of Caravaggio and of his most direct follower Bartolomeo Manfredi. Vignon's severe half-length figures (St Paul, Turin, Gal. Sabauda; Four Church Fathers, on loan to Cambridge, Fitzwilliam), executed possibly even earlier than 1615, are in a Caravaggesque style, as are his paintings of singers, musicians and drinkers (e.g. the Young Singer, Paris, Louvre), although the latter group owes more to the style of contemporary genre painting. However, Vignon was already showing an interest in new artistic experiments, the origins of which were northern, Venetian and Mannerist. His sensitivity to the splendid colouring of Venice and to the art of Jacques Bellange, Georges Lallemand and Jacques Callot is manifest in his Martyrdom of St Matthew (1617; Arras, Mus. B.-A.), a work with striking references to Caravaggio's painting of the same subject (Rome, S Luigi dei Francesi), and still more so in his Adoration of the Magi (1619; Dayton, OH, A. Inst.), which also shows clear links with the art of several precursors of Rembrandt, including Adam Elsheimer, Pieter Lastman, Jakob Pynas and particularly Leonard Bramer.
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