雅克·布兰查德(1600 - 1638),也称为雅克•Blanchart是一个法国人巴洛克式的画家出生在巴黎。

尽管他抛光和多产的输出作为一个宗教和装饰画家,很少被布兰查德的早期发展。他度过了他的青少年在他舅舅的巴黎工作室历练尼古拉斯Baullery 1550/60 - 1630(c)。到1618年,他前往里昂贺拉斯勒布朗工作室的工作,他们必须认识到年轻的艺术家1623年的承诺,因为当他离开巴黎,布兰查德是已经完成了他留下的作品。在他的工作室,包括可能圣母子与一个抱着婴儿的主教和一个女人(圣丹尼斯里昂)。

在1624年10月底,布兰查德前往罗马的弟弟珍,很可能他遇到等同时代西蒙•Vouet雅克•斯特拉·克劳德梅兰和尼古拉•普桑。之后,在4月或1626年5月,布兰查德发展到威尼斯,在那里他呆了两年,正是在那里,他的风格成熟了。在他的整个职业生涯布兰查德是借用大量从提香和丁托列托,但从维罗纳人更具体地说,他的银色的金发碧眼的调色板和清澈的光布兰查德使用最有效地在他的小宗教和神话主题。

而布兰查德在意大利旅行,遇到1624年和1629年之间相对证据确凿的,所有真正知道他的实际产出在此期间可以归结为我们通过账户由法国历史学家,建筑师和理论家安德烈Felibien,作家查尔斯·贝洛。当局重新计票,例如,布兰查德的威尼斯作品包括描写诗人奥维德从的《变形记》等作品,他执行执行的维纳斯和阿多尼斯爱Charles-Emanuel我在都灵,萨公爵。在他任期在都灵,在短暂回到威尼斯,1629年布兰查德终于再次遣返自己法国,他是继续职业生涯的余生。在这十年的跨度在他回到法国,1638年去世,他的大部分幸存的作品。

他们给他站除了他同时代的人,不仅在他的绘画风格,而且在他选择的主题,例如在南希的酒神节。

布兰查德的第一次主要法国委员会最早是他幸存的过时的工作,圣母和基督的孩子给圣彼得的钥匙(白色的教堂),画于1629年在里昂。这幅画显示了面孔,牛肉面等细节的影响,但总体仍更多债务,16世纪的威尼斯画家的艺术家的知识。1631年至1632年间,他一直在他的下一个重要的项目,酒店的装饰勒巴比尔。虽然这些作品不再生存,他们记录下Dezallier d 'Argenville Abrege 1762,其中作者回忆道,布兰查德执行14成分与神话和文学主题。诚然,一些疑问残留的确切程度文学主题布兰查德探索酒店德巴比尔在他的计划。

的主要影响是16世纪画家,特别是提香和丁托列托与他们的富有,温暖的颜色,维罗纳人的金色和银色的颜色和清澈的光他使用最有效地在他的小宗教和神话主题。慈善机构的几个版本,描绘成一个年轻的女人和两个或三个孩子,都是很好的例子温柔的色彩处理,和柔软的情绪接近18比17世纪。他也是一个敏感的肖像画家,扮演了主要角色在1630年代的法国绘画。

除了他的宗教,文学和神话主题,布兰查德也是一个敏感的肖像画家,在他短暂的职业生涯中扮演了主要角色在法国绘画的发展一般在1630年代。波瑞特称他为“法国提香”,和Felibien说他重新le bon痛风法国绘画。布兰查德振荡之间的在他的整个职业生涯中两个截然不同的tendencies-the酷和抛光处理的波伦亚的画家和越热烈感官和温暖colourism威尼斯人。但这也许是威尼斯的元素在当前工作尤为明显。其他类似作品布兰查德的几个版本的慈善机构,尤其是画布在托莱多,俄亥俄州和他在南希的感性和复杂的酒神节。在这些寓言和神话作品生动地说明了布兰查德方法色彩和光线的敏感和拥有精致的情绪,也许是接近18而不是17世纪。

他在1638年死于巴黎。这个画家不应该混淆与法国雕塑家的同名住从1634年到1689年。

Despite his polished and prolific output as a religious and decorative painter, very little is known of Blanchard’s early development. He apparently spent his adolescence apprenticed at the Paris studio of his maternal uncle Nicolas Baullery (c. 1550/60–1630). By 1618, he travelled to Lyon to work in the studio of Horace le Blanc, who must have recognised the young artist’s promise because when he left for Paris in 1623, Blanchard is known to have finished a number of the works he left behind . in his studio, including perhaps the Virgin and Child with a Bishop and a Woman Holding a Baby (Lyon, St Denis).

At the end of October 1624, Blanchard travelled to Rome in the company of his brother Jean, where it is possible that he encountered such contemporaries as Simon Vouet, Jacques Stella, Claude Mellan and Nicolas Poussin. Later, around April or May 1626, Blanchard progressed to Venice, where he remained for two more years and it was here that his style matured. Throughout his career Blanchard was to borrow lavishly from Titian and Tintoretto, but more specifically from Veronese, whose silvery blond palette and limpid light Blanchard used most effectively in his small religious and mythological subjects.

While Blanchard’s travels and encounters in Italy between 1624 and 1629 are relatively well-documented, all that is really known of his actual output during this period comes down to us through accounts by the French historian, architect and theorist André Félibien, and the writer Charles Perrault. Both authorities recount, for example, that Blanchard’s Venetian oeuvre included depictions from Ovid’s Metamorphoses, and that he executed such works as the Loves of Venus and Adonis executed in Turin for Charles-Emanuel I, Duke of Savoy. After his tenure in Turin, and following a brief return to Venice, in 1629 Blanchard finally re-patriated himself to France, where he was to remain for the rest of his career. It is within this ten-year span between his return to France and his death in 1638 that most of his surviving works.

They show him to stand quite apart from his contemporaries, not only in his painting style but also in his choice of sensual subject-matter, for example the Bacchanal at Nancy.

Blanchard’s first major French commission is his earliest surviving dated work, the Virgin with the Christ Child Giving the Keys to St Peter (Albi Cathedral), painted in Lyon in 1629. The painting shows Bolognese influence in such details as the faces, but is overall is still more indebted to the artist’s knowledge of 16th Century Venetian painters. Between 1631 and 1632, he undertook his next important project, the decoration of the Hôtel le Barbier. While these works no longer survive, they were recorded by Dézallier d’Argenville in his Abrégé of 1762, wherein the writer recalls that Blanchard executed fourteen compositions with mythological and literary themes. Admittedly, some doubt lingers as to the exact extent of the literary themes Blanchard explored in his scheme for the Hôtel de Barbier.

The chief influences were the sixteenth century painters, especially Titian and Tintoretto with their rich, warm colours, andVeronese, whose blond and silvery colour and limpid light he used most effectively in his small religious and mythological subjects. The several versions of Charity, depicted as a young woman with two or three children, are excellent examples of his tenderness of colour handling, and of a softness of sentiment nearer to the 18th than to the 17th century. He was also a sensitive portrait painter, and played a leading part in French painting of the 1630s.

In addition to his religious, literary and mythological subjects, Blanchard was also a sensitive portrait painter, and in his short career played a leading part in the development of French painting in general during the 1630s. Perrault called him the ‘Titian of France’, and Félibien stated that he reintroduced le bon gout to French painting. Blanchard oscillated throughout his career between two distinct tendencies—the cool and polished handling of the Bolognese painters and the more warmly sensuous and warm colourism of the Venetians. But it is perhaps the Venetian element which is particularly evident in the present work. Other similar works are Blanchard’s several versions of Charity, particularly the canvas in Toledo, Ohio and his sensual and complex Bacchanal in Nancy. In these allegorical and mythological works vividly illustrate Blanchard’s sensitive approach to colour and light and possess a delicacy of sentiment that is perhaps nearer to the 18th rather than to the 17th century.

He died in Paris in 1638. This painter should not be confused with the French sculptor of the same name who lived from 1634 to 1689.