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Louis Le Nain Landscape with Peasants oil painting


Landscape with Peasants
Painting ID::  1017
Louis Le Nain
Landscape with Peasants
1640 The National Gallery of Art, Washington DC

   
   
     

Louis Le Nain Peasant Family in an Interior (mk05) oil painting


Peasant Family in an Interior (mk05)
Painting ID::  20511
Louis Le Nain
Peasant Family in an Interior (mk05)
Canvas,44 1/2 x 62 1/2''(113 x 159 cm)Acquired in 1915

   
   
     

Louis Le Nain Peasant Meal (mk05) oil painting


Peasant Meal (mk05)
Painting ID::  20512
Louis Le Nain
Peasant Meal (mk05)
1642 Canvas,38 1/4 x 48''(97 x 122 cm)Bequest of Dr.Louis La Caze 1869

   
   
     

Louis Le Nain The Cart or the Return from Haymaking (mk05) oil painting


The Cart or the Return from Haymaking (mk05)
Painting ID::  20513
Louis Le Nain
The Cart or the Return from Haymaking (mk05)
1641 Canvas,22 x 28 1/4''(56 x 72 cm)Legacy received in 1879

   
   
     

Louis Le Nain The Adoration of the Shepherds (mk05) oil painting


The Adoration of the Shepherds (mk05)
Painting ID::  20516
Louis Le Nain
The Adoration of the Shepherds (mk05)
1630-1632 Canvas 113 x 55''(287 x 140 cm)Seized in the Revolution INV

   
   
     

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     Louis Le Nain
     1593-1648 French Louis Le Nain Gallery French family of painters. Antoine Le Nain (b Laon, c. 1600; bur Paris, 26 May 1648) and his brothers Louis Le Nain (b Laon, c. 1600; bur Paris, 24 May 1648) and Mathieu Le Nain (b Laon, c. 1607; bur Paris, 26 April 1677) lived together and shared a studio in Paris. Since the studio was headed by Antoine, he is assumed to have been older than Louis. The brothers reputation rests on a number of paintings signed Le Nain, on the basis of which other paintings (but no drawings) have also been attributed to them. None of the signed paintings bears a Christian name, and there is no secure way of attributing works to the individual brothers, although many attempts have been made. Eighteenth-century sale catalogues, fearful of anonymity, effectively chose from the three names at random. Since the writings of Witt (1910) and Jamot (1922) in particular, it has been habitual to ascribe small paintings on copper to Antoine, and austere, larger peasant scenes to Louis. This division of hands will be found in almost all the subsequent literature on the artists, although it must be stressed that there is no evidence at all to support it. Great efforts have also been made to identify works by Mathieu, since he survived his brothers by nearly 30 years and presumably continued to paint after their deaths in 1648. However, no such activity after 1648 is securely documented, and none of the surviving works bears a date later than 1647; and the arguments for a separate Mathieu oeuvre, though cogent, should not be regarded as conclusive. The outstanding feature of the work of the Le Nain brothers, and the basis of their celebrity since the mid-19th century, is the artists treatment of the poor.

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