Laurent de la hyre online dating

At her shoulder is a songbird, symbol of natural music, whereas by contrast she may be a representation of modern music theory and practice.

To the right are various contemporary instruments and scores: a lute, a violin, two recorders, a vocal exercise, and a song in two parts. Rosenberg 1982 and Rosenberg and Thuillier 1988], mention a sale that took place on February 23 "et jours suivants" in the rue du Temple, Paris, which included "Tableaux, entre autres les Arts libéraux, originaux de La Hire de 1649 et 1650 . ."; the document does not mention the number of paintings by La Hyre sold on this occasion.

This canvas, originally flanked by two music-making putti (Musée Magnin, Dijon), belonged to a series of the seven Liberal Arts commissioned by Gédéon Tallemant (1613–1668) for his house in the Marais quarter in Paris.

An artist of great elegance, La Hyre was trained by his father and learned not only the fundamentals of painting but of music, mathematics, and architecture—all of which were to find an outlet in his work. [before 1705] [a lecture to the French Royal Academy delivered some time late in the 17th century, published in L. 274, notes that La Hyre painted "sept grands tableaux représentant les sept arts libéraux avec des fonds enrichis d'architecture pour la même ville [Rouen]".

After study at Fontainebleau (1622–25), where he copied the work of Primiticcio, he joined the studio of Georges Lallemant (before 1575–1636). 48–49], observes that "Il y [a] aussi, dans le Marais du Temple [Paris], dans une maison qui appartenoit autrefois à M. Dussieux et al., Mémoires inédits sur la vie et les ouvrages des membres de l'Académie Royale de Peinture et de Sculpture, 1854, p.

His earliest paintings retain a strongly Mannerist flavor, but over the course of the 1630s his mature style emerged, combining naturalism, beauty of color, elegantly choreographed compositions, and architectural settings of rigorous classical design; his landscapes are notable for their pastoral beauty and soft lighting. Tallement, maistre des requestes, sept tableaux représentant les sept ars libéraux qui font l'ornement d'une chambre; les figures ne sont pas entières; elles sont grandes comme nature, et ces tableaux sont ornés d'architecture et accompagnés d'enfants.". 107], observes that La Hyre made seven large paintings of the seven Liberal Arts for M.

A major exhibition of his works, with an appraisal of his place in French seventeenth-century painting, took place in Grenoble, Rennes, and Bordeaux in 1988. "Eloge de la clarté: Un courant artistique au temps de Mazarin 1640–1660," October 29, 1998–January 31, 1999, no.

The Metropolitan’s picture, a masterpiece from the artist’s full maturity, belonged to an important series depicting the Seven Liberal Arts: Grammar (National Gallery, London), Rhetoric (known from a copy in a private collection) and Dialectic (private collection)—what is known as the Trivium—and Arithmetic (Foundation Hannema-de Stuers, Heino), Music (MMA), Geometry (Fine Arts Museums of San Francisco), and Astronomy (Musée des Beaux-Arts, Orléans)—the Quadrivium.

Three of the canvases are dated 1649 and the others 1650. "Eloge de la clarté: Un courant artistique au temps de Mazarin 1640–1660," June 8–September 27, 1998, no.

According to the artist’s son Philippe de La Hyre (1640–1718), they decorated a room in the house of Gédéon Tallemant (1613–1668) on rue d’Angoûlmois (now 58 rue Charlot) in the Marais quarter in Paris: "In a house that used to belong to M.

Tallemant, Maître des Requêtes, [are] seven paintings showing the seven liberal arts which formed the decoration of a room; the figures are not shown full length; they are life-size and the pictures are decorated with architecture and accompanied by children." The mention of children refers to additional canvases, of which the only ones that survive are those that flanked the MMA painting and show a winged putto playing a viol and another one reading from a sheet of music (Musée Magnin, Dijon; see Additional Images, fig. It seems likely that the series was installed in a wainscoting with the individual canvases separated by moldings or pilasters. The Allegory of Music is perhaps the finest of the extant portions of the Tallemant commission, for a reconstruction of which see Rosenberg and Thuillier 1988. "A Caravaggio Rediscovered: The Lute Player," February 9–April 22, 1990, no.

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The ensemble must have been of great beauty and the series appears to have been replicated for another patron of La Hyre in Rouen (A. Dézallier d'Argenville, Abrégé de la vie des plus fameux peintres, Paris, 1745, vol. In devising the allegorical compositions for the various canvases, La Hyre employed as his principal (but not necessarily unique) literary source Jean Baudouin’s 1644 French translation of Cesare Ripa’s standard iconographic manual, the Iconologia, the first edition of which appeared in 1603.

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