Champaigne, Philippe de (Brussels, 1602 - Paris, 1674)
The Lord's Supper
Oil on canvas
Height: 0.8 m; Width: 1.49 m
The Louvre
The Last Supper is the final meal that, in the Gospel accounts, Jesus shared with his Apostles in Jerusalem before his crucifixion. The Last Supper provides the scriptural basis for the Eucharist, also known as "Holy Communion" or "The Lord's Supper".
The four canonical Gospels all state that the Last Supper took place towards the end of the week, after Jesus' triumphal entry into Jerusalem and that Jesus and his Apostles shared a meal shortly before Jesus was crucified at the end of that week. During the meal Jesus predicts his betrayal by one of the Apostles present, and foretells that before the next morning, Peter will deny knowing him.
The three Synoptic Gospels and the First Epistle to the Corinthians include the account of the institution of the Eucharist in which Jesus takes bread, breaks it and gives it to the Apostles, saying: "This is my body which is given for you". The Gospel of John does not include this episode, but tells of Jesus washing the feet of the Apostles, giving the new commandment "to love one another as I have loved you", and has a detailed farewell discourse by Jesus, calling the Apostles who follow his teachings "friends and not servants", as he prepares them for his departure.
Scholars have looked to the Last Supper as the source of early Christian Eucharist traditions. Others see the account of the Last Supper as derived from 1st-century eucharistic practice as described by Paul in the mid-50s. More on The Last Supper
Philippe de Champaigne (26 May 1602 – 12 August 1674) was a Brabançon-born French Baroque era painter, a major exponent of the French school. He was a founding member of the Académie de peinture et de sculpture in Paris, the premier art institution in France in the eighteenth century.
Champaigne, Philippe de (Brussels, 1602 - Paris, 1674)
The Virgin of Sorrows at the foot of the cross
Oil on canvas
Height: 1.78 m; Width: 1.25 mThe Louvre
Our Lady of Sorrows, the Sorrowful Mother or Mother of Sorrows, and Our Lady of Piety, Our Lady of the Seven Sorrows or Our Lady of the Seven Dolours are names by which the Blessed Virgin Mary is referred to in relation to sorrows in her life. As Mater Dolorosa, it is also a key subject for Marian art in the Catholic Church.
The Seven Sorrows of Mary are a popular Roman Catholic devotion. In common religious Catholic imagery, the Blessed Virgin Mary is portrayed in a sorrowful and lacrimating affect, with seven daggers piercing her heart, often bleeding. Devotional prayers that consist of meditation began to elaborate on her Seven Sorrows based on the prophecy of Simeon. Common examples of piety under this title are Servite rosary, or the Chaplet of the Seven Sorrows of Our Lady and the Seven Joys of Mary and more recently, "Sorrowful and Immaculate Heart of Mary". More on Lady of Sorrows
Champaigne, Philippe de (Brussels, 1602 - Paris, 1674)
Nativity of the Virgin, c. 1636 - 1638
Oil on canvas
Height: 4.35 m; Width: 4.3 m
Louvre Museum
In Christian theology the nativity marks the incarnation of Jesus as the second Adam, in fulfillment of the divine will of God, undoing the damage caused by the fall of the first man, Adam. The artistic depiction of the nativity has been a major subject for Christian artists since the 4th century. Since the 13th century, the nativity scene has emphasized the humility of Jesus and promoted a more tender image of him, as a major turning point from the early "Lord and Master" image, affecting the basic approaches of Christian pastoral ministry. More on the nativity
Born of a poor family in Brussels, during the reign of the Archduke Albert and Isabella, Champaigne was a pupil of the landscape painter Jacques Fouquières. In 1621 he moved to Paris, where he worked with Nicolas Poussin on the decoration of the Palais du Luxembourg under the direction of Nicolas Duchesne, whose daughter he would eventually marry. According to Houbraken, Duchesne was angry at Champaigne for becoming more popular than he was at court, and this is why Champaigne returned to Brussels to live with his brother.
Philippe de CHAMPAIGNE, (Brussels 1602 - Paris 1674)
The Samaritan, c. 1650
Oil on canvas
H. 114.5 cm x L. 113 cm
Musée des Beaux Arts de Caen - Ville de CaenThe painter represents here an episode from the Gospel of Saint John (IV, 25-27). While resting near a well, Jesus asks a woman of Samaria to drink, who is discredited because of her way of life. She is surprised because Jews and Samaritans do not see each other. An interview follows during which Christ reveals to his interlocutor that he is the messiah. This passage symbolizes the power of the grace of God, an essential theme for the Abbey of Port-Royal, a Mecca of Jansenism whose supporters consider that man can do nothing without this grace. The canvas also corresponds to the injunctions of the Council of Trent (1545-1563) concerning the role of religious painting: the scene must be readable and easily recognizable.
La Samaritaine is part of a set of three paintings made for the high altar of the convent of Port-Royal, in Paris. During the Revolution, the work was deposited at the Petits-Augustins, before being delivered, in 1794, to the Museum Central des Arts. Finally attributed to the museum of Caen, it was sent there in 1804.
Champaigne approached the Jansenists when he entrusted the education of his daughters to the nuns of Port-Royal. More on this painting
It was only after he received news of Duchesne's death that he returned to marry his daughter. After the death of Duchesne, Champaigne worked for the Queen Mother, Marie de Medicis, for whom he participated in the decoration of the Luxembourg Palace. He made several paintings for the Notre Dame Cathedral in Paris, dating from 1638. He also drew several cartoons for tapestries. He was made first painter of the Queen with a pension of 1200 pounds. He also decorated the Carmelite Church of Faubourg Saint-Jacques, one of the favorite churches of the Queen Mother.
The Carmelite Church was destroyed during the French Revolution, but there are several paintings now preserved in museums, that were part of the original design. The Presentation in the Temple is in Dijon, the Resurrection of Lazarus is in Grenoble and the Assumption of the Virgin is in the Louvre.
Philippe de Champaigne (French, Brussels 1602–1674 Paris)
Translation of the bodies of Saint Gervais and Saint Protaiso, c. 1661
Oil on canvas
Height: 3.63 m; Width: 6.81 m
The Louvre
Gervasius and Protasius were the twin sons of martyrs. Their father, Saint Vitalis of Milan, a man of consular dignity, suffered martyrdom at Ravenna, possibly under Nero. Their mother, Saint Valeria, died for her faith at Milan. Gervasius and Protasius were imprisoned, and visited in prison by Saint Nazarius.
Saint Ambrose, in 386, had built a magnificent basilica at Milan, now called the Basilica Sant'Ambrogio. Asked by the people to consecrate it in the same solemn manner as was done in Rome, he promised to do so if he could obtain the necessary relics.
In a dream, he was shown the place where such relics could be found (See below). He ordered excavations to be made outside the city, in the cemetery Church of Saints Nabor and Felix, and there found the relics of Saints Gervasius and Protasius.
St Ambrose had their relics removed to the Basilica of Fausta (now the Church of Saints Vitalis and Agricola), and on the next day into his basilica. More on Gervasius and Protasius
Champaigne, Philippe de (Brussels, 1602 - Paris, 1674)
Appearance of Saint Gervais and Saint Protais to Saint Ambrose, c. 1658
Oil on canvas
Height: 3.6 m; Width: 6.78 m
The Louvre
Champaigne, Philippe de (Brussels, 1602 - Paris, 1674)
Richelieu's Immortal Glory, c. around 1635
Oil on canvas
Height: 0.5 m; Width: 0.53 m
The Louvre
Philippe de Champaigne (French, Brussels 1602–1674 Paris)
Ex-voto, c. 1662
Mother Catherine-Agnès Arnauld (1593-1671) and sister Catherine de Sainte Suzanne Champaigne (1636-1686), daughter of the artist
Oil on canvas
Height: 1.65 m; Width: 2.29 m
The Louvre
Ex-voto; the miraculous healing of Sainte-Suzanne, daughter of Philippe de Champaigne himself, lying on a bed, accompanied by Mother Agnès praying beside her. Touched by this miraculous healing, Philippe de Champaigne immortalized this moment, portraying the two sisters during this divine intervention symbolized by the presence of the light ray. More on this painting
Attributed to Philippe de Champaigne, BRUSSELS 1602 - 1674 PARIS
Portrait of mother Agnes and sister Angélique from the abbey of Port Royal des Champs
Oil on canvas
81 x 102.5 cm; 32 by 40 1/3 in
The painting depicts Mother Catherine Agnès de Saint-Paul known as Agnès Arnauld as a pious and devout woman, deeply inspired and focused by the prayer she addresses to the Lord (she adopts the same posture as that of the Ex-Voto ). Next to her, the portrait of Mother Angélique, adopting the same pose as in her portrait by Philippe de realized by Champaigne (See below). More on this painting
Attributed to Philippe de Champaigne, BRUSSELS 1602 - 1674 PARIS
Mother Angélique Arnauld, Abbess of Port-Royal
Oil on canvas
130х98
The Louvre
Philippe de Champaigne
Study after Mother Angélique Arnauld, Abbess of Port RoyalLouvre Museum
Champaigne produced a very large number of paintings, mainly religious works and portraits. Influenced by Rubens at the beginning of his career, his style later became more austere. Philippe de Champaigne remains an exceptional painter thanks to the brilliance of the colors in his paintings and the stern strength of his compositions.
Louis XIII ruled as King of France from 1610-1643. His mother was Marie de’Medici who acted as regent during his minority. In 1615 he married Anne of Austria, daughter of Philip III of Spain. Louis relied heavily on his chief minister, Cardinal Richelieu, giving him enormous power and influence in governing the country. He was succeeded by his son, Louis XIV. More on this painting
Champaigne portrayed the entire French court, the French high nobility, royalty, high members of the church and the state, parliamentarians and architects, and other notable people. His portrait of the poet Vincent Voiture was created around 1649 as the frontispiece for Voiture's published Works. The portrait is highly unusual in that Champaigne later reworked it as a portrait of a religious figure, Saint Louis (King Louis IX), to enable Voiture's daughter to keep it with her when she entered a convent. In depicting their faces, he refused to show a transitory expression, instead capturing the psychological essence of the person.
Attributed to Philippe de Champaigne and Studio
Louis XIII crowned with Victory, Siege of La Rochelle, c. 1628
Oil on canvas
Height: 2.285 m; Width: 1.75 m;
The Louvre
This painting depicts Louis XIII standing in full armor on a terrace, his hand resting on a plumed helmet.
Philippe de Champaigne
The Vow of Louis XIII previously known as Notre-Dame de Pitié, c. 1638
Oil on canvas
H. 342 cm x L. 267.5 cm
Musée des Beaux Arts de Caen - Ville de Caen
Commissioned by Louis XIII to adorn the high altar of Notre-Dame de Paris cathedral, this painting commemorates the wish made by the king in 1637, published on February 10, 1638 in order to put France, then invaded by Spanish troops, under the protection of the Virgin. Philippe de Champaigne scrupulously follows the iconography defined by the sovereign. He demonstrates his mastery of the art of portraiture, while excelling in the register of still life (symbols of the Passion at the feet of Christ). More on this painting
Champaigne portrayed the entire French court, the French high nobility, royalty, high members of the church and the state, parliamentarians and architects, and other notable people. His portrait of the poet Vincent Voiture was created around 1649 as the frontispiece for Voiture's published Works. The portrait is highly unusual in that Champaigne later reworked it as a portrait of a religious figure, Saint Louis (King Louis IX), to enable Voiture's daughter to keep it with her when she entered a convent. In depicting their faces, he refused to show a transitory expression, instead capturing the psychological essence of the person.
Philippe de Champaigne
The Penitent Magdalen
Oil on canvas
116 x 87 cm
Museum of Fine Arts, Houston
A sinner, perhaps a courtesan, Mary Magdalen was a witness of Christ who renounced the pleasures of the flesh for a life of penance and contemplation. Penitent Magdalene or Penitent Magdalen refers to a post-biblical period in the life of Mary Magdalene, according to medieval legend.
According to the tenets of the 17th–century Catholic church, Mary Magdalene was an example of the repentant sinner and consequently a symbol of the Sacrament of Penance. According to legend, Mary led a dissolute life until her sister Martha persuaded her to listen to Jesus Christ. She became one of Christ's most devoted followers and he absolved her of her former sins. More on The Penitent Magdalen
The painting was probably executed for the convent of the Dames du Saint-Sacrament in the Marais, Paris.
Champaigne, Philippe de (Brussels, 1602 - Paris, 1674)
The Assumption, c. between 1625 - 1650
Oil on canvas
Height: 3.94 m; Width: 2.43 mLouvre Museum
The Assumption of Mary into Heaven. When Jesus died on the cross, he gave his mother to his apostle John. That means that he wanted Mary to treat John as her son, and John to treat Mary as his mother and take care of her. Mary moved into John's home, where he said Mass each day. So Mary was close to her Son in the Blessed Sacrament, even though He had ascended into Heaven.
Mary's love for God and Jesus grew even stronger than it had been when Jesus had been present on earth. She grew more holy every day. People came to visit her, she was kind and patient with everyone. Saint Luke (who wrote the Gospel of Saint Luke) painted a picture of her during this time. The portrait of 'Our Lady of Perpetual Help" which was painted centuries later, used Saint Luke's portrait as a model of what Mary looked like.
Finally when she was very old, it was time for Mary to die. She had enough time to say goodbye to all the apostles before she died. The grieving apostles took her body to a tomb near the one that Jesus was laid in. They covered her with a white shroud and laid her to rest in the tomb.
But Mary's body didn't stay there. Jesus came to her and took her body and soul into heaven to be with Him. Mary was the Immaculate Conception - the only person except Jesus who had been born without the stain of Original Sin,the disobedience of Adam and Eve. God and Jesus would not let the body of the Mother of God decay. This was her reward for her love of God and her years of faithful prayers and suffering. More on the Assumption of Mary into Heaven
Painted for the church of the Carmelite convent in the Faubourg Saint-Jacques. Seized during the Revolution, deposit of the Petits-Augustin then transferred to the Museum in 1792, granted to Notre-Dame de Paris in 1811. Gift of the chapter of Notre-Dame de Paris, 1862. More on this painting
His works can be seen in public buildings, private collections, churches such as Val-de-Grâce, Sorbonne, Saint Severin, Saint-Merri, Saint-Médard and in the Basilica of Notre-Dame du Port in Clermont-Ferrand.
Champaigne, Philippe de (Brussels, 1602 - Paris, 1674)
The Échevins of the City of Paris, c. 1648
Oil on canvas
200 x 271 cm
Musée du Louvre, Paris
On three occasions Champaigne was commissioned to paint the official portrait group of the mayor and aldermen of the city of Paris. One of these groups, for the year 1648, exists in the Louvre. The artist here had to follow a rigidly established formula. The individual heads are painted with great naturalism, but the figures kneel in hieratic poses on either side of a small altar, supporting a crucifix, on the base of which is the figure of St Geneviève, the patron saint of Paris. The severity and rigidity of the design are in keeping with the dignity of those who ruled over the city at this time, who took their duties seriously and proudly maintained the independence of their municipality. More on this painting
Champaigne was prominent enough in his time as to be mentioned in Cyrano de Bergerac in a line by Ragueneau referencing Cyrano: "Truly, I should not look to find his portrait By the grave hand of Philippe de Champagne."
Philippe de Champaigne (French, Brussels 1602–1674 Paris)
The Annunciation, ca. 1644
Oil on oak
27 1/4 x 27 3/4 in. (69.2 x 70.5 cm)
The Metropolitan Museum of Art
The Annunciation referred to as the Annunciation to the Blessed Virgin Mary, the Annunciation of Our Lady, or the Annunciation of the Lord, is the Christian celebration of the announcement by the angel Gabriel to the Virgin Mary that she would conceive and become the mother of Jesus, the Son of God, marking his Incarnation. Gabriel told Mary to name her son Yehoshua , meaning "YHWH is salvation".
According to Luke 1:26, the Annunciation occurred "in the sixth month" of Elizabeth's pregnancy. Many Christians observe this event with the Feast of the Annunciation on 25 March, an approximation of the northern vernal equinox nine full months before Christmas, the ceremonial birthday of Jesus. In England, this came to be known as Lady Day. It marked the new year until 1752. The 2nd-century writer Irenaeus of Lyon regarded the conception of Jesus as 25 March coinciding with the Passion. More The Annunciation
Philippe de Champaigne’s paintings have been described as combining “a scrupulous perfectionism verging on coldness with an inner life of deep intensity.” A key protagonist of French classicism, his work was partially motivated by an association with Jansenism, the severe Counter-Reformation movement that was eventually suppressed by Louis XIV. This painting was one of several by the leading artists of the day executed in Paris for the small private chapel of Queen Anne of Austria (1601–1666), the widowed wife of Louis XIII. More on this painting
Champaigne, Philippe de (Brussels, 1602 - Paris, 1674), After
The Meal with Simon the Pharisee, circa 1656
Oil on canvas
Height: 2.92 m; Width: 3.99 m
Louvre Museum
Simon was a Pharisee mentioned in the Gospel of Luke (Luke 7:36-50) as the host of a meal, who invited Jesus to eat in his house but failed to show him the usual marks of hospitality offered to visitors - a greeting kiss, water to wash his feet, or oil for his head .
During the meal, a tearful woman identified as a sinner anointed Jesus' feet. He contrasted her faith and care with Simon's failure to show common decency, and accused him of being forgiven little and (in consequence) loving little. More on Simon the Pharisee
Champaigne, Philippe de (Brussels, 1602 - Paris, 1674),
The Supper at Emmaus
Oil on canvas
217 x 226 cm
Museum voor Schone Kunsten, Ghent
Emmaus is mentioned in the Gospel of Luke as the village where Jesus appeared to his disciples after his crucifixion and resurrection. Luke 24:13-35 indicates that Jesus appears after his resurrection to two disciples who are walking from Jerusalem to Emmaus, which is described as being 60 stadia (10.4 to 12 km depending on what definition of stadion is used) from Jerusalem. One of the disciples is named Cleopas. More on Emmaus
His pupils were his nephew Jean Baptiste de Champaigne, William Faithorne, Jean Morin, and Nicolas de Plattemontagne. During his last period Champaigne painted mainly religious subjects and family members. He died in Paris in 1674. More on Philippe de Champaigne
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