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CERUTI, Giacomo
Boy with a Basket
c. 1745
Oil on canvas, 130 x 95 cm
Pinacoteca di Brera, Milan
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CERUTI, Giacomo
Evening at the Piazza jj
c. 1730
Oil on canvas, 210 x 298 cm
Museo Civico d'Arte Antica, Palazzo Madama, Turin
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CERUTI, Giacomo
The Annunciation kljk
Apart from Vouet, Champaigne was the most important painter active in Paris in the middle years of the 17th century. He was born and trained in Brussels. He arrived in Paris in 1621. Throughout his career he made many official commissions, for monasteries, for the Church, and for Louis XIII. He collaborated with Nicolas Poussin in decorating the Luxembourg Palace, then worked for the queen mother, Marie de Medicis, for Louis XIII, and after 1635 primarily for the king's chief minister, Cardinal Armand Richelieu, for whom he decorated the Palais Royal, the dome of the Sorbonne, and other buildings.
His art has not been studied in depth until recently, and has undergone radical reassessment: instead of being seen as an exponent of dry Classicism, he is now seen to epitomize the whole epoch. As a portraitist, his vivid depictions of Cardinal Richelieu show how he was able to seize on the essential characteristics of the autocrat, while his portraits of other, now unidentifiable contemporaries are much more sympathetic.
In the first part of his career, as a painter of religious pictures, he executed a number of large altarpieces that shows his Flemish origin. This is especially true of such Rubens-inspired works as the Adoration of the Shepherds in the Wallace Collection, London. Later in life, Champaigne changed his art dramatically when he came under the influence of the Jansenist movement. His paralysed daughter was miraculously cured in the Jansenist nunnery of Port-Royal, and to mark the event Champaigne painted his celebrated but untypical Ex-Voto (Louvre, Paris). Champaigne's art was much more varied than is usually thought, and his achievement spans almost fifty years, from the mid-1620s to his death in 1674. He was one of the fourteen founder-members of the Academy in 1648.
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CERUTI, Giacomo
Annunciation klj
c. 1644
Oil on canvas, 74,3 x 54,6 cm
Ferens Art Gallery, Hull
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CERUTI, Giacomo
Ex Voto
1662
Oil on canvas, 165 x 229 cm
Mus??e du Louvre, Paris
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CERUTI, Giacomo
Portrait of Henri Groulart klh
1654
Oil on canvas, 92,5 x 75,5 cm
Museum of Fine Arts, Budapest
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CERUTI, Giacomo
King Louis XIII kj
1655
Oil on canvas, 108 x 86 cm
Museo del Prado, Madrid
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CERUTI, Giacomo
The Penitent Magdalen jgh
Oil on canvas, 115,5 x 87 cm
Museum of Fine Arts, Houston
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CERUTI, Giacomo
The Miracles of the Penitent St Mary jhj
1656
Oil on canvas, 219 x 336 cm
Mus??e du Louvre, Paris
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CERUTI, Giacomo
Portrait of Omer Talon jbhj
1649
Oil on canvas, 225 x 161,6 cm
National Gallery of Art, Washington
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CERUTI, Giacomo
Portrait of Bishop Jean-Pierre Camus ,mnk
1643
Oil on canvas, 73,2 x 59,4 cm
Museum voor Schone Kunsten, Ghent
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CERUTI, Giacomo
Portrait of a Man kjg
1650
Oil on canvas, 91 x 72 cm
Mus??e du Louvre, Paris
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CERUTI, Giacomo
Portrait of Robert Arnauld d'Andilly lkhk
1667
Oil on canvas, 78 x 64 cm
Mus??e du Louvre, Paris
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CERUTI, Giacomo
The Presentation of the Temple kjgj
1648
Oil on canvas, 257 x 197 cm
Mus??es Royaux des Beaux-Arts, Brussels
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CERUTI, Giacomo
Cardinal Richelieu mjkh
c. 1637
OiI on canvas, 260 x 178 cm
National Gallery, London
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CERUTI, Giacomo
Triple Portrait of Richelieu kjj
c. 1640
Oil on canvas, 58 x 72 cm
National Gallery, London
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CERUTI, Giacomo
The Supper at Emmaus khk
Oil on canvas, 217 x 226 cm
Museum voor Schone Kunsten, Ghent
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CERUTI, Giacomo
Still-Life with a Skull jg
Oil on panel, 28 x 37 cm
Mus??e de Tess??, Le Mans
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CERUTI, Giacomo
Boy with a Basket of Fish
mk65
Oil on canvas
22 1/16x28 3/4in
Pitti,
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CERUTI, Giacomo
Style life with Salami
mk186
around 1750 Milans, Pinacoteca di Brera
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| CERUTI, Giacomo
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Italian Painter, 1698-1767
Italian painter. He was one of a group of artists working in Bergamo and Brescia who observed reality with an unusual freshness and directness. He painted religious subjects and portraits but was most distinguished as a painter of genre and low-life scenes. These included many pictures of beggars and vagabonds ( pitocchi), hence his nickname 'il Pitocchetto'. He married in Milan in 1717 but settled in Brescia in 1721. In 1723 he received a horse in payment for three altarpieces and four frescoes for the parish church of Rino di Sonico; they were mediocre works executed in an unadventurous blend of Lombard and Venetian traditions derived from contemporary Venetian painters working in Brescia. Ceruti's early portraits and genre scenes are less conventional and more intensely felt; in 1724 he signed and dated the strikingly naturalistic portrait of Giovanni Maria Fenaroli
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