| Born | 1619 (Paris) |
| Died | 1690 (Paris) |
| Nationality | France |
| Epochs | Classicism, Baroque |
| Genre | portrait, history painting, religious art |
| Profession | painter, architect, designer, graphic artist, architectural drafter |
| Family | Father: Nicolas Le Brun Mother: Jeanne Le Brun Sibling: Gabriel Le Brun |
| Teacher | François Perrier, Simon Vouet, Nicolas Poussin |
| Student | Joseph Vivien, Nicolas Bertin, Louis de Silvestre, François Verdier, Gabriel Revel |
| Memberships | Académie royale de peinture et de sculpture |
| Notable works | Alexander zieht in Babylon ein (1664), Der Kanzler Séguier beim Einzug Ludwigs XIV. in Paris im Jahre 1660 (Detail) (1660), Die Anbetung der Hirten (1689), Atalanta and Meleager (1658), Porträt des Bildhauers Nicolas le Brun (1635) |
| Museums | Art Institute of Chicago, Palace of Versailles, Staedel Museum, Dulwich Picture Gallery, Finnish National Gallery (Kansallisgalleria) |
Charles Le Brun is one of the most powerful French artists. The painter, sculptor, architect and ornamental artist was the spiritual father and the driving force behind the style epoch we now call Louis XIV. The enormous breadth of his creative output - he was not only a painter and sculptor, but also an interior decorator, plasterer and designer of carpets, wallpapers and tapestries - enabled him to leave his mark on the entire art of this epoch. His style left its mark on subsequent generations of courtly artists and served as a reference and idealized counterpart to the exuberant Rokoko until well into the 18th century.
Le Brun's career began early, at the age of 13, when a drawing of Louis III on horseback made by him caught the attention of the then chancellor Ségnier. Afterwards, the talent of the young stonemason's apprentice was systematically encouraged. Born in Paris in 1619, Le Bruns was already court painter in 1638 and received his first commissions from Cardinal Richelieu. His courtly patrons enabled the artist to spend time in Italy, where he perfected his training and studied in Rome with Nicolas Poussin, among others. During this time he also devoted himself to the works of Carracci, Raffael and Renis, which strongly influenced his later work. For example, one of Le Brun's most famous works, Einzug Alexanders in Babylon, which can be seen today in the Louvre.
Page 1 / 4
| Born | 1619 (Paris) |
| Died | 1690 (Paris) |
| Nationality | France |
| Epochs | Classicism, Baroque |
| Genre | portrait, history painting, religious art |
| Profession | painter, architect, designer, graphic artist, architectural drafter |
| Family | Father: Nicolas Le Brun Mother: Jeanne Le Brun Sibling: Gabriel Le Brun |
| Teacher | François Perrier, Simon Vouet, Nicolas Poussin |
| Student | Joseph Vivien, Nicolas Bertin, Louis de Silvestre, François Verdier, Gabriel Revel |
| Memberships | Académie royale de peinture et de sculpture |
| Notable works | Alexander zieht in Babylon ein (1664), Der Kanzler Séguier beim Einzug Ludwigs XIV. in Paris im Jahre 1660 (Detail) (1660), Die Anbetung der Hirten (1689), Atalanta and Meleager (1658), Porträt des Bildhauers Nicolas le Brun (1635) |
| Museums | Art Institute of Chicago, Palace of Versailles, Staedel Museum, Dulwich Picture Gallery, Finnish National Gallery (Kansallisgalleria) |
Charles Le Brun is one of the most powerful French artists. The painter, sculptor, architect and ornamental artist was the spiritual father and the driving force behind the style epoch we now call Louis XIV. The enormous breadth of his creative output - he was not only a painter and sculptor, but also an interior decorator, plasterer and designer of carpets, wallpapers and tapestries - enabled him to leave his mark on the entire art of this epoch. His style left its mark on subsequent generations of courtly artists and served as a reference and idealized counterpart to the exuberant Rokoko until well into the 18th century.
Le Brun's career began early, at the age of 13, when a drawing of Louis III on horseback made by him caught the attention of the then chancellor Ségnier. Afterwards, the talent of the young stonemason's apprentice was systematically encouraged. Born in Paris in 1619, Le Bruns was already court painter in 1638 and received his first commissions from Cardinal Richelieu. His courtly patrons enabled the artist to spend time in Italy, where he perfected his training and studied in Rome with Nicolas Poussin, among others. During this time he also devoted himself to the works of Carracci, Raffael and Renis, which strongly influenced his later work. For example, one of Le Brun's most famous works, Einzug Alexanders in Babylon, which can be seen today in the Louvre.