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Jean-Baptiste Santerre | |
|---|---|
 Self-Portrait, 1704, oil on canvas, Palace of Versailles | |
| Born | 23 March 1651 |
| Died | 21 November 1717 (aged 66) |
| Nationality | French |
| Education | |
| Known for | painting |
| Movement | Style Louis XIV |
Jean-Baptiste Santerre (French pronunciation: [ʒɑ̃ batist sɑ̃tɛʁ]; 23 March 1651 – 21 November 1717)[1] was a French painter and draughtsman of the Style Louis XIV, known for his history paintings, portraits, and portrait-like genre subjects. Considerably influenced by Italian masters of the Bolognese school as well as his French contemporaries, Santerre nonetheless made an original contribution in his art, being among the first French painters to bring Netherlandish influences.
Born in Magny-en-Vexin near Pontoise, Santerre studied notably under the history painter Bon Boullogne, and trained by copying works by Old Masters. After achieving initial success as a portrait painter by the late 1690s, Santerre began to branch out into the fields of genre painting and, in which he combined the fantasy portrait of Northern tradition, as seen in the art of Rembrandt and Gerrit Dou, with the allegorical portrait, then fashionable in France. At the same time, he also painted history paintings and altarpieces of biblical and religious subjects, suffused with a strong erotic character; notable case of these is Susanna at the Bath of 1704, regarded among Santerre's best known works. Santerre's successes gained the attention from the French royalty, notably including King Louis XIV and Philippe II, Duke of Orléans; from 1715 and until his death, Santerre served as a court painter for the Duke of Orleans.
Santerre's work brought him a controversial reputation, in light of his association with the French Regency era; it was during the 19th and 20th centuries when it met a broader appreciation. Santerre is regarded as a precursor of the Rococo era painting, as well as of both Neoclassical and Romantic painting, and was said to be an influence on subsequent generations of artists during the said eras.[a]
- ^ Brême 1996, p. 789; Bénézit 2006, p. 396.
- ^ Wolf, John Baptist (1962). The Emergence of the Great Powers, 1685–1715. The Rise of Modern Europe. New York: Harper & Row. p. 254. OCLC 1148931150 – via the Internet Archive.
Others, like Santerre, were obviously their way towards the forms that Watteau would develop for the eighteenth century.
- ^ Myers 1969, p. 101.
- ^ Hourticq, Louis [in French] (1939). Davidson, J. Leroy; Gerry, Philippa (eds.). The New Standard Encyclopedia of Art. New York: Garden City. p. 315. OCLC 1036767498 – via the Internet Archive.
- ^ Constans 1979, p. 1659.
- ^ Osborne 1970, p. 1039.
- ^ Blunt 1973, p. 393.
- ^ Milam, Jennifer (July 2014). "H-France Review Vol. 14 (July 2014), No. 120" (PDF).
- ^ Barker, Emma (April 2013). "Fragonard and the Fantasy Figure: Painting the Imagination by Melissa Percival". French Studies: A Quarterly Review. 67 (2): 253. doi:10.1093/fs/knt012 – via Project MUSE.
- ^ Viardot 1884, p. 303.
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