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VOUET, Simon
Magdalene r
1614-15
Oil on panel, 63 x 49 cm
Palazzo del Quirinale, Rome
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VOUET, Simon
St Catherine er
1614-15
Oil on panel, 63 x 49 cm
Palazzo del Quirinale, Rome
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VOUET, Simon
The Fortuneteller w
1617
Oil on canvas, 95 x 135 cm
Galleria Nazionale d'Arte Antica, Rome
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VOUET, Simon
The Fortuneteller (detail) aer
1617
Oil on canvas
Galleria Nazionale d'Arte Antica, Rome
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VOUET, Simon
Virgin and Child wer
Oil on canvas
Mus??e des Beaux-Arts, Lyon
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VOUET, Simon
The Last Supper wt
1615-20
Oil on canvas
Palazzo Apostolico, Loreto
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VOUET, Simon
Prince Marcantonio Doria e
1621
Oil on canvas, 129 x 95 cm
Mus??e du Louvre, Paris
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VOUET, Simon
Crucifixion wet
1622
Oil on canvas, 375 x 225 cm
Chiesa del Ges??, Genoa
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VOUET, Simon
Crucifixion er
Oil on canvas
Mus??e des Beaux-Arts, Lyon
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VOUET, Simon
Father Time Overcome by Love, Hope and Beauty hf
1627
Oil on canvas, 107 x 142 cm
Museo del Prado, Madrid
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VOUET, Simon
Presentation in the Temple gu
Oil on canvas, 393 x 250 cm
Mus??e du Louvre, Paris
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VOUET, Simon
Diana wr
1637
Oil on canvas, 102 x 141 cm
Royal Collection, Hampton Court
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VOUET, Simon
Allegory of Wealth et
1630-35
Oil on canvas, 170 x 124 cm
Mus??e du Louvre, Paris
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VOUET, Simon
Sleeping Venus kji
1630-40
Oil on canvas, 100,5 x 84 cm
Museum of Fine Arts, Budapest
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VOUET, Simon
Ambush qr
c. 1630
Oil on oak, 44,5 x 64,3 cm
National Gallery, Prague
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VOUET, Simon
January qwr
Oil on wood, 27 x 37 cm
Museum of Fine Arts, Budapest
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VOUET, Simon
January (detail) dry
Oil on wood
Museum of Fine Arts, Budapest
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VOUET, Simon
Parnassus or Apollo and the Muses (detail)
c. 1640
Oil on panel
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VOUET, Simon
Parnassus or Apollo and the Muses (detail)
c. 1640
Oil on panel
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VOUET, Simon
The Last Supper
1615-20
Oil on canvas
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| VOUET, Simon
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French Baroque Era Painter, 1590-1649
French painter and draughtsman. Although at the time regarded as one of the leading French painters of the first half of the 17th century, he is now known more for his influence on French painting than for his actual oeuvre. He made his reputation in Italy, where he executed numerous portraits for aristocratic patrons and was commissioned for religious subjects. Although the early Italian works show the influence of Caravaggio, his work was subsequently modified by the Baroque style of such painters as Lanfranco and the influence of the Venetian use of light and colour. When he was summoned back to France by Louis XIII in 1627 he thus brought with him an Italian idiom hitherto unknown in France that revitalized French painting
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