In 1648 he was commissioned to paint the official group portrait of the mayor and aldermen, The Echevins of the City of Paris (Paris, Musée du Louvre). Under the regency of Anne of Austria (1601-1666) in the 1640s and 1650s, Champaigne was employed for projects at the Palais Royal, and at the monastery and church of the Val-de-Grâce, on which he worked intermittently until 1660. An invariable dignity and sense of composure characterize both his portraits and his history paintings, which became increasingly clear in design and concentrated in contained emotion.
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He was no less attuned to the meticulous surface modeling and complex shifts of smoothly applied color to depict with precision the hands and features of his figures.
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From the outset Champaigne was distinctive for his intense observation of material detail, such as the nicks and veins in building stones in his architectural settings or the textures of fabrics.
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He had learned from the example of Peter Paul Rubens (1577-1640) how to handle brilliant color and paint dazzling highlights, and the cardinal's hauteur recalls Anthony van Dyck's (1599-1641) Genoese portraits. He was soon established among the foremost painters in Paris, and the deaths of his great patrons Richelieu in 1642 and Louis XIII the year after did not impede his success.Ĭhampaigne's majestic full-length portrait of Richelieu, of 1635-1640 (London, National Gallery), reveals his distinctive fusion of Flemish and French traditions. Two years later the king commissioned him to paint the Vow of Louis XIII for the high altar of Nôtre Dame (Caen, Musée des Beaux-Arts). 1610-1643), whom he portrayed in 1635 crowned by Victory against the background of La Rochelle, where the Protestants had been defeated a few years before (Paris, Musée du Louvre). In the early 1630s, Champaigne began to paint for Cardinal Richelieu (1585-1642), who would become one of his most avid patrons, in the Galerie des Hommes Illustres in the Palais Cardinal, where he worked alongside Simon Vouet (1590-1649). Champaigne married Duchesne's daughter Charlotte after returning to Brussels in 1627 and later succeeded Duchesne as painter to the queen mother, for whom he decorated the church of the Carmelite convent on the rue St. 1628) in 1625, Champaigne collaborated with Nicolas Poussin (1594-1665) on decorations for the Luxembourg Palace, the residence of the queen mother, Marie de' Medici (1573-1642). Under the supervision of Nicolas Duchesne (d. He followed Fouquieres to Paris in 1621, working in the studio of Georges Lallemant (1580-1636), a painter of the late Fontainebleau school.
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Philippe de Champaigne trained first in his native Brussels with Jean Bouillon and the portraitist Michel de Bordeau before entering the studio of the landscape painter Jacques Fouquieres in 1620.