Pierre Mignard I (1612–1695)
Winter: Cybele Begs for the Sun's Return (detail)
Textile, Tapestry
6.16 × 0 × 4.79 m
Mobilier National, Paris
The sea occupies the background of a winter landscape. Time or Saturn, accompanied by the Winged Genii, throws rain and ice from the top of the clouds.
Pierre Mignard or Pierre Mignard I (17 November 1612 – 30 May 1695), called "Mignard le Romain" to distinguish him from his brother Nicolas Mignard, was a French painter known for his religious and mythological scenes and portraits. He was a near-contemporary of the Premier Peintre du Roi Charles Le Brun with whom he engaged in a bitter, life-long rivalry.
Pierre Mignard I (1612–1695)
Winter: Cybele Begs for the Sun's Return
Textile, Tapestry
6.16 × 0 × 4.79 m
Mobilier National, Paris
Pierre Mignard was born at Troyes in 1612 as the son of Pierre and Marie Gallois. He came from a family of artisans. He was the younger brother of Nicolas, who became a painter and etcher who was mainly active in Avignon and was known as Mignard d'Avignon. Nicolas had two sons, Paul who became a painter and etcher and Pierre who became a painter and architect. To distinguish his nephew Pierre from his uncle, the nephew was called "Pierre II" or "Le Chevalier".
Mignard, Pierre (Troyes, 1612 - Paris, 1695)
Pierre Mignard, Troyes, 1612 - Paris, 1695
Pierre Mignard, Troyes, 1612 - Paris, 1695
Pierre Mignard trained in Bourges with the Mannerist painter Jean Boucher. He later spent time making copies of the Mannerist works in the château of Fontainebleau. He then studied for a period in the studio of Simon Vouet. Mignard left for Rome in 1635 where he would stay about 22 years. It is because of his long residence in Rome that he got the nickname 'Mignard le Romaine'.
"The Mystic Marriage of St Catherine" was one of the numerous works created by Mignard to decorate various Parisian residences and the salons of art lovers. The subject of the painting is borrowed from the “Golden Legend”, a collection of the lives of Western European saints which was compiled by Jacobus de Voragine in the 13th century. St Catherine, who came from a royal family, lived in Alexandria during the reign of the Roman emperor Maximinus. She was a Christian and attempted to convert the emperor to the Christian faith, but was subjected to cruel torture and executed. During the prayer she saw a vision that she was married in heaven to the infant Christ. In his painting, Mignard has depicted the moment when the Virgin took the hand of Catherine and the Saviour placed a precious ring on her finger. The palm branch, which she holds in her other hand, symbolizes victory over death. The sword lying at the feet of the saint is the instrument of her martyrdom. More on The Mystic Marriage of St Catherine
In Rome he painted religious commissions. He was particularly known for his many images of the Madonna and Child. They were so popular that they were referred to as "Mignardises." He also painted altarpieces. Compatriot Nicolas Poussin hired Mignard to make copies of his works. He was also active as a reproductive engraver making copies after Annibale Carracci. Mignard also developed his lifelong interest in portraiture at this time, and he painted portraits of subsequent popes, cardinals, and prominent members of the Italian nobility. He also travelled to Northern Italy where he visited Bologna, Parma, Mantua, Florence and Venice
His reputation was such that he was summoned to Paris in 1657, probably by Cardinal Mazarin. He travelled back via Avignon where his brother Nicolas worked. Here he met the dramatist Molière, who became a close friend and of whom he painted several portraits. In Paris he became a popular portrait painter.
Neptune offering its riches to France. Allegory to Louis XIV
Oil on canvas
Height: 3.42 m; Width: 7.2 m
Musée du Louvre, Paris
Mignard, Pierre (Troyes, 1612 - Paris, 1695)
The Deliverance of Andromeda
King Cepheus and Queen Cassiope thanking Perseus for having delivered their daughter Andromeda
Oil on canvas
Height: 1.88 m; Width: 2.47 m
Musée du Louvre, Paris
Ovid tells how Andromeda, daughter of an Ethiopian king, was chained to a rock by the sea-shore as a sacrifice to a sea-monster. Perseus (the son of Danaë whom Jupiter caused to conceive after turning himself into a shower of golden rain) flying overhead on Pegasus, the winged horse, fell in love at first sight. He swooped down just in time, slew the monster and released Andromeda.
The picture represents the moment following the freeing of Andromeda. More on this painting
The Dance of a Nymph and a Satyr
Oil on canvas
Height: 3.8 m; Width: 2.58 m
Louvre Museum
Pierre Mignard I (1612–1695)
Time clipping Cupid's wings, c. 1694
Oil on canvas
height: 26 in, 66.0400 cm; width: 21.25 in, 53.9750 cm
Denver Art Museum
In this painting Mignard depicts an allegorical concept of Time’s effect on Love,, symbolised by the young Cupid. Time here is personified in Chronos (Father time wielding a scythe). Pierre painted this picture one year prior to his death, at the peak of his career.
The narrative is that of time’s effect on the longevity of love, or even infatuation that is often confused for love. More on Time clipping Cupid's wings
Pan and Syrinx
Oil on canvas
Height: 1.13 m; Width: 0.89 m
Louvre Museum
In classical Greek mythology, Syrinx was a nymph and a follower of Artemis, known for her chastity. Pursued by the amorous god Pan, she ran to a river's edge and asked for assistance from the river nymphs. In answer, she was transformed into hollow water reeds that made a haunting sound when the god's frustrated breath blew across them. Pan cut the reeds to fashion the first set of panpipes, which were thenceforth known as syrinx. The word syringe was derived from this word. More on Syrinx
Pierre Mignard, Troyes, 1612 - Paris, 1695
Clio, c.1689
Oil on canvas
143,5 × 115 cm
Szépmûvészeti Múzeum, Budapest
Klio, in Greek mythology, was one of the nine Muses, patron of history. Traditionally Klio, after reprimanding the goddess Aphrodite for her passionate love for Adonis, was punished by Aphrodite, who made her fall in love with Pierus, king of Macedonia. From that union, in some accounts, was born Hyacinthus, a young man of great beauty who was later killed by his lover, the god Apollo. More on Klio
Pierre Mignard, Troyes, 1612 - Paris, 1695
Clio and Calliope
Oil on canvas
Height: 1.8 m; Width: 1.45 m
Musée du Louvre, Paris
In Renaissance and Neoclassical art, the dissemination of emblem books helped standardize the depiction of the Muses in sculpture and painting, so they could be distinguished by certain props. These props, or emblems, became readily identifiable by the viewer, enabling one immediately to recognize the Muse and the art with which she had become associated. Calliope (epic poetry) carries a writing tablet; Clio (history) carries a scroll and books. More on Muses
Pierre Mignard, Troyes, 1612 - Paris, 1695
Thalie and Érato, Muses of Comedy and Lyric Poetry
Oil on canvas
Height: 0.88 m; Width: 1.2m
Musée du Louvre, Paris
Mignard, Pierre. 1612-1695
Mystic Marriage of St Catherine, c. 1669
Oil on canvas
134x105 cm
The Hermitage
"The Mystic Marriage of St Catherine" was one of the numerous works created by Mignard to decorate various Parisian residences and the salons of art lovers. The subject of the painting is borrowed from the “Golden Legend”, a collection of the lives of Western European saints which was compiled by Jacobus de Voragine in the 13th century. St Catherine, who came from a royal family, lived in Alexandria during the reign of the Roman emperor Maximinus. She was a Christian and attempted to convert the emperor to the Christian faith, but was subjected to cruel torture and executed. During the prayer she saw a vision that she was married in heaven to the infant Christ. In his painting, Mignard has depicted the moment when the Virgin took the hand of Catherine and the Saviour placed a precious ring on her finger. The palm branch, which she holds in her other hand, symbolizes victory over death. The sword lying at the feet of the saint is the instrument of her martyrdom. More on The Mystic Marriage of St Catherine
Mignard, Pierre. 1612-1695
Saint John the Baptist, c. 1688
Oil on canvas
Height: 147 cm; Width: 109 cm
Museo Nacional del Prado
Although Mignard is primarily known as a successful portraitist, he occasionally worked in other genres. This canvas, depicting the youthful John the Baptist, is one example. Its meticulous brushwork reveals the influence of Bolognese painting. The careful rendering of the textures and the especially elegant figures is linked to Mignard´s early training in France, when he worked with the French Baroque´s leading artists. This painting was commissioned by Phillip of Orleans in 1688 for his son-in-law, King Carlos II (1661-1700). More on this painting
Mignard, Pierre (Troyes, 1612 - Paris, 1695)
Ex voto for the convalescence of a French prince
Oil on canvas
Height: 2.6 m; Width: 5.12 m
Musée du Louvre, Paris
An ex-voto is a votive offering to a saint or to a divinity; the term is usually restricted to Christian examples. It is given in fulfillment of a vow (hence the Latin term, short for ex voto suscepto, "from the vow made") or in gratitude or devotion.
In the Latin world, there is a tradition of votive paintings, typically depicting a dangerous incident which the offeror survived. More on ex-voto
In Rome he painted religious commissions. He was particularly known for his many images of the Madonna and Child. They were so popular that they were referred to as "Mignardises." He also painted altarpieces. Compatriot Nicolas Poussin hired Mignard to make copies of his works. He was also active as a reproductive engraver making copies after Annibale Carracci. Mignard also developed his lifelong interest in portraiture at this time, and he painted portraits of subsequent popes, cardinals, and prominent members of the Italian nobility. He also travelled to Northern Italy where he visited Bologna, Parma, Mantua, Florence and Venice
His reputation was such that he was summoned to Paris in 1657, probably by Cardinal Mazarin. He travelled back via Avignon where his brother Nicolas worked. Here he met the dramatist Molière, who became a close friend and of whom he painted several portraits. In Paris he became a popular portrait painter.
Mignard, Pierre. 1612-1695
The Magnanimity of Alexander the Great/ Tent of Darius, c. 1689
Oil on canvas
298x451 cm
The Hermitage
The subjects and allegorical subtext of Mignard’s depiction of The Magnanimity of Alexander the Great is obvious: the Macedonian conqueror, dressed in armour with a red cloak and red-plumed helmet is extending his hand to the mother of King Darius who kneels before him. Standing alongside is Hephaestion, also in armour, with a blue cloak and blue-plumed helmet. Red and blue were the colours of the King and the Marshal of France respectively. In 1688–89, when France was ramping up its offensive policy in Europe, the new victories of the French army and the idea of extolling the might of Louis XIV found expression in this striking programmatic picture. More on this painting
Charles Le Brun's dictatorship at the field of arts lasted till 1683. The latter's successor, Louvois, had for many years been a supporter of Le Brun's rival, Pierre Mignard, by whom Le Brun found himself gradually displaced. In 1689 Louvois brought to a head the rivalry between his favourite and Le Brun by commissioning from Mignard a Tent of Darius in direct competition with Le Brun's acknowledged masterpiece. More on this painting
Mignard, Pierre. 1612-1695
The Death of Cleopatra, c. 1635-1640
Oil on canvas
134,5х102 cm
The Hermitag
Cleopatra VII Philopator (69 – August 12, 30 BC), was the last active pharaoh of Ptolemaic Egypt, briefly survived as pharaoh by her son Caesarion. After her reign, Egypt became a province of the recently established Roman Empire.
Cleopatra was a member of the Ptolemaic dynasty, a family of Macedonian Greek origin that ruled Egypt after Alexander the Great's death. The Ptolemies spoke Greek throughout their dynasty, and refused to speak Egyptian, which is the reason that Greek as well as Egyptian languages were used on official court documents such as the Rosetta Stone. By contrast, Cleopatra did learn to speak Egyptian and represented herself as the reincarnation of the Egyptian goddess Isis.
Cleopatra originally ruled jointly with her father Ptolemy XII Auletes, and later with her brothers Ptolemy XIII and Ptolemy XIV, whom she married as per Egyptian custom, but eventually she became sole ruler. As pharaoh, she consummated a liaison with Julius Caesar that solidified her grip on the throne.
After Caesar's assassination in 44 BC, she aligned with Mark Antony in opposition to Caesar's legal heir Gaius Julius Caesar Octavianus (later known as Augustus). With Antony, she bore the twins Cleopatra Selene II and Alexander Helio. Antony committed suicide after losing the Battle of Actium to Octavian's forces, and Cleopatra followed suit. According to tradition, she killed herself by means of an asp bite on August 12, 30 BC. More on Cleopatra
Soon after his return to Paris, Mignard was able to attract the patronage of important personalities who commissioned portraits of him. His sitters included Turenne, Molière, Bossuet, Maintenon (in the Louvre), La Vallière (See below), Sévigné, Montespan, Descartes (in Castle Howard). He was thus one of the most successful portrait painters of his time although according to some art historians also the most boring one.
Follower of Pierre Mignard
Portrait of Marie Mancini (1640-1715)
Oil on canvas
29¼ x 24¼ in. (74.3 x 61.6 cm.)
Private collection
As a frequent visitor to the Mazarin house, Louis XIV fell deeply in love with Marie Mancini. But her uncle Cardinal Jules Mazarin was determined that Louis choose a Spanish bride to ensure an alliance with Spain. (In 1660, Louis married Maria Teresa of Spain .) Mazarin sent Marie away and pushed his niece Olympia Mancini into the arms of Louis; he also made sure that Marie was apprised of this. Deeply hurt, the 21-year-old Marie married the prince of Colonna on the rebound in 1661, but she soon left him and returned to France where she was shut up in a convent by Louis XIV. She lived in Spain for most of her life, then returned to France where she died in obscurity in 1714 or 1715. More on Marie Mancini
Attributed to Pierre Mignard I (1612–1695)
Portrait of Louise de La Vallière (1644-1710)
Oil on canvas
Height: 106.5 cm (41.9 in)
National Trust for Scotland
The Duchesse de la Vallière (1644-1710), renowned for her beauty, was chosen as a mistress for Louis XIV to distract him from an impending relationship with his sister-in-law. Pierre Mignard, one of the most fashionable portraitists at Louis XIV's court, had trained under the celebrated Simon Vouet. The sitter is depicted in a landscape, having just picked flowers which she has collected in her cloak, probably to make a wreath, and she holds up a single anemone in her left hand. The flowers allude to beauty and fecundity, fitting attributes for an official royal mistress. More on this painting
She later became the Duchess of La Vallière and Duchess of Vaujours in her own right. She has no known surviving descendants. Louise was also very religious and she led a religious penance for herself near the end of her life. More on Louise de La Vallière
After Pierre Mignard I (1612–1695)
Portrait of Marie Rabutin-Chantal, Marquise de Sévigné, c.1820s
Miniature on porcelain
Height: 6.8 cm (2.6 in); Width: 5.5 cm (2.1 in)
Palace of Versailles
Marie de Rabutin-Chantal, marquise de Sévigné (5 February 1626 – 17 April 1696), also widely known as Madame de Sévigné or Mme de Sévigné, was a French aristocrat, remembered for her letter-writing. Most of her letters, celebrated for their wit and vividness, were addressed to her daughter, Françoise-Marguerite de Sévigné. She is revered in France as one of the great icons of French 17th-century literature. More on Marie de Rabutin-Chantal
Workshop of Pierre Mignard I (1612–1695)
Portrait of Madame de Montespan
Oil on canvas
Height: 115 cm (45.2 in); Width: 89 cm (35 in)
Palace of Versailles
Lady of honor to Queen Marie-Thérèse, everything destined this haughty young beauty to become the king's mistress. Blond hair, blue eyes, ruddy mouth, she was perfection according to the canons of the time. Tired of the Duchess de La Vallière (See above), more restrained, as at fault for having yielded to the king, Louis was not long in setting his eyes on the brilliant Marchioness, and this from 1667. It was the time of the king's triumph,. The husband, Louis de Pardaillan de Gondrin, Marquis de Montespan, poured out invectives. It was his right, he was banished from the court. The king was still divided between his two mistresses. More on Madame de Montespan
Her immediate contemporary was Barbara Villiers, mistress of King Charles II of England (See below).
Pierre Mignard I (1612–1695)
Louise de Kéroualle, Duchess of Portsmouth with an unknown female attendant, c. 1682
Oil on canvas
Height: 120.7 cm (47.5 in) ; Width: 95.3 cm (37.5 in)
National Portrait Gallery
Louise Renée de Penancoët de Kéroualle, Duchess of Portsmouth (5 September 1649 – 14 November 1734) was a mistress of Charles II of England.
Louise had been selected by the French court to fascinate Charles II, but for this there seems to be no evidence. Yet when there appeared a prospect that Charles would show her favour, the intrigue was vigorously pushed by the French ambassador, Colbert de Croissy, who was aided by the secretary of state Henry Bennet, 1st Earl of Arlington, and his wife.
Louise, who concealed great cleverness and a strong will under an appearance of languor and a rather childlike beauty (diarist John Evelyn speaks of her "baby face"), yielded only when she had already established a strong hold on Charles' affections and character. Her son Charles (1672–1723) was created Duke of Richmond in 1675. More on Louise Renée de Penancoët de Kéroualle
He found favor with king Louis XIV who sat for many portraits. Mignard became a rival of the leading French painter of that time and first painter to the King, Charles Le Brun. He declined to enter the Academy of which Le Brun was the head. Mignard also opposed the authority of the Academy. His brother Nicolas and his nephew Paul, who was his pupil, chose the side of Le Brun against Pierre, which led to a break in the relationship.
With the death of Le Brun in 1690, the situation changed. Mignard succeeded to all the posts held by his opponent. He died in 1695 at Paris as he was about to begin work on the cupola of Les Invalides. More on Pierre Mignard
Pierre Mignard, 1612 - 1695
The Marquise de Seignelay and Two of her Sons, c. 1691
Oil on canvas
194.5 x 154.4 cm
The National Gallery
In this portrait, the recently widowed Catherine-Thérèse, Marquise de Seignelay (1662–1699) and two of her five sons are shown as characters from Greek and Roman mythology. The Marquise is probably meant to be the sea goddess Thetis, but could also be interpreted as Venus, the goddess of love, with her attributes: a scallop shell and strings of pearls. Her sons are painted as Cupid, god of love, and Achilles, a Greek hero of the Trojan War. The children gaze towards a small portrait cameo, which could be of their father, alluding to his death.
For Catherine-Thérèse’s sumptuous robe, Mignard used an expensive, high-quality ultramarine blue pigment as a show of her wealth and power. The figures are surrounded by sea and different kinds of shells, references to her husband’s profession in the French royal navy. A volcano smokes in the background. More on this painting
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