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Simon Vouet

April 06, 2023

Simon Vouet (French: [vwɛ]; 9 January 1590 – 30 June 1649) was a French painter who studied and rose to prominence in Italy before being summoned by Louis XIII to serve as Premier peintre du Roi in France. He and his studio of artists created religious and mythological paintings, portraits, frescoes, tapestries, and massive decorative schemes for the king and for wealthy patrons, including Richelieu. During this time, "Vouet was indisputably the leading artist in Paris,"[1] and was immensely influential in introducing the Italian Baroque style of painting to France. He was also "without doubt one of the outstanding seventeenth-century draughtsmen, equal to Annibale Carracci and Lanfranco."[2]

Simon Vouet
Self-portrait (c. 1626–1627)
Musée des Beaux-Arts de Lyon
Born(1590-01-09)9 January 1590
Paris, France
Died30 June 1649(1649-06-30) (aged 59)
Paris, France
EducationFather's studio, years in Italy (1613–1627)
Known forPainting, Drawing
MovementBaroque
Patron(s)Louis XIII, Cardinal Richelieu

Career

Simon Vouet was born on January 9, 1590, in Paris.[3] His father Laurent was a painter in Paris and taught him the rudiments of art. Simon's brother Aubin Vouet was also a painter, as also was Simon's wife Virginia da Vezzo, their son Louis-René Vouet, their two sons-in-law, Michel Dorigny and François Tortebat, and their grandson Ludovico Dorigny.

 
Virginia da Vezzo, the Artist's Wife, as the Magdalen (c. 1627), LACMA

Simon began his career as a portrait painter. At age 14 he travelled to England to paint a commissioned portrait and in 1611 was part of the entourage of the Baron de Sancy, French ambassador to the Ottoman Empire, for the same purpose. From Constantinople he went to Venice in 1612 and was in Rome by 1614.[4][5]

 
David with the Head of Goliath (1620–1622), Palazzo Bianco, Genoa

He remained in Italy until 1627, mostly in Rome where the Baroque style was becoming dominant. He received a pension from the King of France and his patrons included the Barberini family, Cassiano dal Pozzo, Paolo Giordano Orsini and Vincenzo Giustiniani.[4] He also visited other parts of Italy: Venice; Bologna (where the Carracci family had their academy); Genoa (where, from 1620 to 1622, he worked for the Doria princes); and Naples.

He was a natural academic, who absorbed what he saw and studied, and distilled it in his painting: Caravaggio's dramatic lighting; Italian Mannerism; Paolo Veronese's color and di sotto in su or foreshortened perspective; and the art of Carracci, Guercino, Lanfranco and Guido Reni.

While in Rome he befriended artist Artimesia Gentileschi and painted her portrait in 1623.[6]

Vouet's immense success in Rome led to his election as president of the Accademia di San Luca in 1624.[7] His most prominent official commission of the Italian period was an altarpiece for St Peter's in Rome (1625–1626), destroyed at some time after 1725 (though fragments remain.)[8]

 
Judith with the Head of Holofernes (c. 1624–1626) painted by Virginia da Vezzo, the first wife of Simon Vouet, at the Musée des Beaux-Arts de Nantes

In response to a royal summons, Vouet returned to France in 1627, where he was made Premier peintre du Roi. Louis XIII commissioned portraits, tapestry cartoons and paintings from him for the Palais du Louvre, the Palais du Luxembourg and the Château de Saint-Germain-en-Laye. In 1632, he worked for Cardinal Richelieu at the Palais-Royal and the Château de Malmaison. In 1631 he decorated the château of the président de Fourcy, at Chessy, the hôtel Bullion, the château of Marshal d'Effiat at Chilly, the hôtel of the Duc d’Aumont, the Séguier chapel, and the gallery of the Château de Wideville.

Today, a number of Vouet's paintings are lost, and "only two major decorative schemes survive, those for the chateaux of Colombes and Chessy,"[9] but the details and imagery of many lost works are known from engravings by Michel Dorigny, François Tortebat, and Claude Mellan.[4]

Personal life

 
Vouet family tree, simplified to show those known to be artists: Simon and his father, brother, wife, son, sons-in-law, and grandson

In 1626 he married Virginia da Vezzo, "a painter in her own right...known for her beauty,"[10]: 10  who modeled as the Madonna and female saints for Vouet's religious commissions. The couple would have five children. Virginia Vouet died in France in 1638. Two years later Vouet married a French widow, Radegonde Béranger, with whom he had three more children.[10]: 13 

Legacy

 
St Francis of Paola Resuscitating a Child (1648), L'église-Saint-Henri de Lévis, Quebec, "the apogee of French seventeenth-century painting."

As one art historian writes, "When Vouet returned to Paris in 1627, French art was painfully provincial and, by Italian standards, more than a quarter of a century behind the times. Vouet introduced the latest fashions, educated a group of talented young artists—and the public as well—and brought Paris up to date."[1]

Vouet's style became uniquely his own, but was distinctly Italian, importing the Italian Baroque into France. A French contemporary, lacking the term "Baroque," said, "In his time the art of painting began to be practiced here in a nobler and more beautiful way than ever before." In his anticipation of the "two-dimensional, curvilinear freedom of rococo compositions a hundred years later...Vouet should perhaps be counted among the more important sources of eighteenth-century painting."[10]: 60  In his works for the French royal court, "Vouet's importance as a formulator of official decorations is in some ways comparable to that of Rubens."[10]: 85 

 
An engraving by Michel Dorigny reproduces a section of the elaborate murals Vouet painted in the Palais-Royal in Paris for Anne of Austria, a decorative scheme no longer extant.

Vouet's sizeable atelier or workshop produced a whole school of French painters for the following generation. His most influential pupil was Charles le Brun, who organized all the interior decorative painting at Versailles and dictated the official style at the court of Louis XIV of France, but who jealously excluded Vouet from the Académie Royale in 1648.

Vouet's other students included Valentin de Boulogne (the main figure of the French "Caravaggisti"), François Perrier, Nicolas Chaperon, Michel Corneille the Elder, Charles Poërson, Pierre Daret, Charles Alphonse du Fresnoy, Pierre Mignard, Eustache Le Sueur, Claude Mellan, the Flemish artist Abraham Willaerts, Michel Dorigny, and François Tortebat. These last two became his sons-in-law. André Le Nôtre, the garden designer of Versailles, was a student of Vouet. Also in Vouet's circle was a friend from his Italian years, Claude Vignon.

During his lifetime, writes Arnaud Brejon de Lavergnée, "Vouet's stature increased continually, his paintings becoming ever more beautiful, particularly in the last decade." But, "although his career was as brilliant as can be imagined," Vouet "played no role in the foundation of the Académie Royale" that was to be so dominant after his death, "and was neglected by the biographers and more influential amateurs. Between 1660 and 1690 only Poussin and Rubens were taken seriously...and later generations drew their own conclusions from this." Further eroding his legacy, "Vouet was undoubtedly at his greatest in these ensembles [his magnificent decorative schemes for chateaux and churches], most of which were destroyed during the Revolution" of the next century.[9]

Though never entirely forgotten by connoisseurs and collectors (such as William Suida), Vouet fell into a relative obscurity that was not remedied until William R. Crelly's monograph of 1962,[10] and then by the major retrospective of Vouet's work at the Grand Palais in Paris in 1990–1991 with its colloquium[11] and catalogue,[12] which Brejon de Lavergnée says fulfilled "its aim of rehabilitating the artist."[9] "The Simon Vouet retrospective…is still vividly remembered. Since then, studies of the painter, his circle and his students have abounded, defining the image of the artist and his workshop ever more clearly."[13]

The exhibition's organizer, Jacques Thuillier, "is surely justified in claiming the altarpiece of the Presentation of Jesus in the Temple as among the greatest masterpieces of seventeenth-century monumental painting," writes Brejon de Lavergnée, who further asserts that in the artist's works of the 1640s, such as Saint Francis of Paola Resuscitating a Child, "one can see Vouet concluding his career with pictures of an immense gravity informed by an intense spiritual energy. Images of the greatest force, these paintings constitute the apogee of French seventeenth-century painting."[9]

  •  

    Two Modelli for Altarpiece in St. Peter's (1625), LACMA

Exhibitions

  • 1967: Vouet to Rigaud: French Masters of the Seventeenth Century, Finch College Museum of Art, New York, 20 April 1967 – 18 June 1967.
  • 1971: Simon Vouet 1590–1649: First Painter to the King, University of Maryland Art Gallery, College Park, MD, 18 February 1971 – 28 March 1971.
  • 1990–1991: Vouet, Galeries Nationales of the Grand Palais, Paris, 6 November – 11 February 1991; a major retrospective of Simon Vouet's work.
  • 1991: Simon Vouet : 100 neuentdeckte Zeichnungen, Neue Pinakothek, Munich, 9 May – 30 June 1991; exhibition of 100 newly discovered drawings from the holdings of the Bavarian State Library.
  • 2002–2003 : Simon Vouet ou l'éloquence sensible, Musée des Beaux-Arts de Nantes, 5 December 2002 – 20 February 2003; exhibition of drawings from the Bavarian State Library in Munich.
  • 2005–2006: Loth et ses filles de Simon Vouet: Éclairages sur un chef-d'œuvre, Musée des Beaux-Arts de Strasbourg, 22 October 2005 – 22 January 2006.
  • 2008–2009: Simon Vouet, les années italiennes (1613–1627), Musée des Beaux-Arts de Nantes, 21 November 2008 – 23 February 2009, and Musée des Beaux-Arts et d'Archéologie de Besançon, 27 March – 29 June 2009.
 
Presentation of Jesus in the Temple (1641), Louvre, "among the greatest masterpieces of seventeenth-century monumental painting."[9]
 
Crucifixion (1636–1637), Musée des Beaux-Arts de Lyon
 
Apparition of the Virgin and the Infant Jesus to Saint Anthony (1630–1631), L’église Saint-Roch de Quebec; displayed in Canada in 2017 and in France in 2018 in the exhibition The Fabulous Destiny of the Paintings of the Abbés Desjardins /Le Fabuleux Destin des Tableaux des Abbés Desjardins. A Can$30,573 restoration in 2016 removed a 19th-century Canadian artist's overpainting, including a dog and a pilgrim's flask that had changed Saint Anthony into Saint Roch.[14][15]

Works

Paintings

Crelly's catalogue raisonné of 1962[10]: 147  lists more than 150 preserved paintings by Vouet. Since that publication, "a number of paintings, some of them of considerable importance, have turned up in various parts of the world and the list of his work continues to grow."[16] A new catalogue raisonné, by Arnauld and Barbara Brejon de Lavergnée, is forthcoming.[17] This is a partial list by present location, and then, as possible, by date.

Louvre, Paris

  • Prince Marcantonio Doria d'Angri (1621)
  • Saint William of Aquitaine (1622–1627)
  • The Holy Family with St Elisabeth and the Infant St John the Baptist (1625–1650)
  • Woman Wearing a White Veil (1630s)
  • Allegory of Wealth (c. 1635–1640)
  • Allegory of Charity (1630–1635)
  • Gaucher de Châtillon (1632–1635)
  • Allegory of Virtue (c. 1634)
  • Heavenly Charity (c. 1640)
  • Presentation of Jesus in the Temple (1641)
  • Hesselin Madonna or Madonna of the Oak Cutting (c.1640–1645)
  • Portrait of Louis XIII between two female figures symbolising France and Navarre (1643)
  • Portrait of a Young Man
  • Polymnia, Muse of Eloquence

Elsewhere in France

Italy

  • Mary Magdalene (1614–1615), Quirinal Palace, Rome
  • Angel with Dice and Tunic and Angel with Spear of the Passion (1615–1625), Museo di Capodimonte, Naples
  • Last Supper (1616–1620), Palazzo Comunale, Loreto
  • Crucifixion (1621–6122), Chiesa del Gesù, Genoa
  • Young Man with a ruff (1620), Luigi Koeliker Collezione, Milano
  • David with the Head of Goliath (1620–1622), Palazzo Bianco, Genoa
  • Nativity of the Virgin (c. 1629), San Francesco a Ripa, Rome
  • Annunciation (c. 1621–1622), Uffizi, Florence
  • Circumcision of Jesus (1622), Museo di Capodimonte, Naples
  • Portrait of Artemisia Gentileschi with Painting Implements (c. 1623–1625), private collection
  • Temptation of Saint Francis and Saint Francis Renouncing His Goods (1624–1625), San Lorenzo in Lucina, Rome
  • Saint Agatha's Vision of Saint Peter in Prison (c. 1625), Palazzo Abatellis, Palermo

Elsewhere in Europe

United States

Canada

Japan

 
Chariclea Led Away by Pirates (c. 1634–35), one of six Vouet tapestries at the Legion of Honor, San Francisco

Tapestries

Compositions by Vouet preserved in tapestries[10]: 266  include:

  • Twelve tapestries based on scenes from Tasso's epic poem Jerusalem Delivered, including Rinaldo in the Arms of Armida at the Louvre.
  • Six tapestries from the series The Story of Theagenes and Chariclea (1634–1635), based on scenes from the ancient Greek novel Aethiopica, at the Legion of Honor, San Francisco.
  • Eight tapestries based on scenes from the Old Testament, including Moses Saved from the Waters (The Finding of Moses) (c. 1630) at the Louvre.
  • Eight tapestries based on scenes from the Odyssey.
  • Twenty-three tapestries based on Loves of the Gods, including Neptune and Ceres and Aurora and Cephalus at the Hôtel de Sully.

Gallery of paintings (chronological)

Gallery: Images of Vouet and his family

References

  1. ^ a b Posner, Donald. "The Paintings of Simon Vouet " (book review), The Art Bulletin, Vol. 45, No. 3 (Sept., 1963), pp. 286–291.
  2. ^ Rosenberg, Pierre."Musée du Louvre, Cabinet des Dessins, Inventaire général des dessins, École française, Dessins de Simon Vouet 1590–1649 by Barbara Brejon de Lavergnée" (book review). Master Drawings, Vol. 25, No. 4 (Winter, 1987), p. 414.
  3. ^ Simon Vouet at the Encyclopædia Britannica
  4. ^ a b c Brejon de Lavergnée, Barbara. 'Simon Vouet', Oxford Art Online.
  5. ^ "Artist Info". www.nga.gov. Retrieved 20 April 2018.
  6. ^ Universalis‎, Encyclopædia. "ARTEMISIA GENTILESCHI". Encyclopædia Universalis (in French). Retrieved 2022-12-11.
  7. ^ Bissell, R. Ward (2011). "Simon Vouet, Raphael, and the Accademia di San Luca in Rome". Artibus et Historiae. 32 (63): 55–72. JSTOR 41479737.
  8. ^ Schleier, Erich. "A Bozzetto by Vouet, Not by Lanfranco." The Burlington Magazine, Vol. 109, No. 770 (May, 1967), pp. 272, 274–276.
  9. ^ a b c d e Brejon de Lavergnée, Arnauld. "Paris: Vouet at the Grand Palais" (review of the exhibition). The Burlington Magazine, Vol. 133, No. 1055 (Feb. 1991), pp. 136–140.
  10. ^ a b c d e f g Crelly, William R. The Paintings of Simon Vouet. Yale University Press, 1962.
  11. ^ Loire Stéphane, editor. Simon Vouet: actes du colloque international Galeries nationales du Grand Palais, 5-6-7 février 1991, Paris: Publication Information, c1992.
  12. ^ Thuillier, Jacques. Vouet: Galeries nationales du Grand Palais, Paris, 6 novembre 1990-11 février 1991 (catalogue of the exhibition). Paris: Réunion des musées nationaux, c. 1990.
  13. ^ Rykner, Didier. "Simon Vouet: The Italian Years 1613/1617 (review of the exhibit)". thearttribune.com. Retrieved 2019-10-24.
  14. ^ Durox, Solenne. "Confisqués pendant la Révolution, ces tableaux ont beaucoup voyagé." Le Parisien, 4 November 2017.
  15. ^ "Patrimoine religieux : aide financière pour les églises Saint-Roch et Saint-Sauveur". monsaintroch.com. Retrieved 2019-10-16.
  16. ^ a b Fredericksen, Burton B. "Two Newly Discovered Ceiling Paintings by Simon Vouet." The J. Paul Getty Museum Journal, Vol. 5 (1977), pp. 95–100.
  17. ^ "Simon Vouet, Study of a Young Woman as the Virgin". sothebys.com. Retrieved 2019-10-18.
  18. ^ "Loth et ses filles de Simon Vouet: Éclairages sur un chef-d'œuvre". www.musees.strasbourg.eu.
  19. ^ "The carvings on the exterior doors may derive from Simon Vouet," according to Renée Dreyfus, Legion of Honor: Selected Works, Fine Arts Museums of San Francisco: 2007, p. 51.

Bibliography

  • Bissell, R. Ward (2011). "Simon Vouet, Raphael, and the Accademia di San Luca in Rome." Artibus et Historiae, Vol. 32, No. 63 (2011), pp. 55–72.
  • Blunt, Anthony. "Some Portraits by Simon Vouet." The Burlington Magazine for Connoisseurs, Vol. 88, No. 524 (Nov., 1946), pp. 268+270-271+273.
  • Brejon de Lavergnée, Arnauld. "Four New Paintings by Simon Vouet." The Burlington Magazine, Vol. 124, No. 956 (Nov., 1982), pp. 685–689.
  • Brejon de Lavergnée, Arnauld. "Paris: Vouet at the Grand Palais" (review of the exhibition). The Burlington Magazine, Vol. 133, No. 1055 (Feb., 1991), pp. 136–140.
  • Brejon de Lavergnée, Arnauld. "Simon Vouet. Nantes and Besançon" (review of the exhibition). The Burlington Magazine, Vol. 151, No. 1272 (Mar., 2009), pp. 187–189.
  • Brejon de Lavergnée, Barbara. Musée du Louvre, Cabinet des Dessins, Inventaire général des dessins, École française, Dessins de Simon Vouet 1590–1649. Paris: Réunion des musées nationaux, 1987. (Comprehensive catalogue of the drawings of Vouet in the Louvre and elsewhere.)
  • Brejon de Lavergnée, Barbara. "New Attributions around Simon Vouet." Master Drawings, Vol. 23/24, No. 3 (1985/1986), pp. 347–351+425-432.
  • Brejon de Lavergnée, Barbara. "Some New Pastels by Simon Vouet: Portraits of the Court of Louis XIII." The Burlington Magazine, Vol. 124, No. 956 (Nov., 1982), pp. 688–691+693.
  • Crelly, William R. The Painting of Simon Vouet. Yale University Press, 1962.
  • Fredericksen, Burton B. "Two Newly Discovered Ceiling Paintings by Simon Vouet." The J. Paul Getty Museum Journal, Vol. 5 (1977), pp. 95–100.
  • Gomez, Susana. "The Encounter of the Emblematic Tradition with Optics. The Anamorphic Elephant of Simon Vouet". Nuncius: Journal of the Material and Visual History of Science, vol. 31, issue 2, pp. 288–331.
  • Loire Stéphane, eitor. Simon Vouet: actes du colloque international Galeries nationales du Grand Palais, 5-6-7 février 1991. Paris: Publication Information, c1992.
  • Loth et ses filles de Simon Vouet: Éclairages sur un chef-d'œuvre (catalogue of the exhibition). Strasbourg: Musée des Beaux-Arts de Strasbourg, 2005.
  • Lurie, Ann Tzeutschler. "The Repentant Magdalene by Simon Vouet." The Bulletin of the Cleveland Museum of Art, Vol. 80, No. 4 (Apr., 1993), pp. 158–163.
  • Manning, Robert. "Some Important Paintings by Simon Vouet in America" in Studies in the History of Art, Dedicated to William E. Suida on His Eightieth Birthday. Kress Foundation/Phaidon Press, 1959.
  • Markova, Vittoria. "A New Painting by Vouet in Russia." The Burlington Magazine, Vol. 132, No. 1050 (Sept., 1990), pp. 632–633.
  • Posner, Donald. "The Painting of Simon Vouet " (book review). The Art Bulletin, Vol. 45, No. 3 (Sept., 1963), pp. 286–291.
  • Rice, Louise. "Simon Vouet's Hesperus and the Mythopoetics of Praise." Studies in the History of Art, Vol. 74, Symposium Papers LI: Dialogues in Art History, from Mesopotamian to Modern: Readings for a New Century (2009), pp. 236–251.
  • Schleier, Erich. "A Bozzetto by Vouet, Not by Lanfranco." The Burlington Magazine, Vol. 109, No. 770 (May, 1967), pp. 272+274-276.
  • Schleier, Erich. "Two New Modelli for Vouet's St. Peter's Altarpiece." The Burlington Magazine Vol. 114, No. 827 (Feb., 1972), pp. 90–94.
  • Schleier, Erich. "Vouet's Destroyed St Peter Altar-Piece: Further Evidence." The Burlington Magazine, Vol. 110, No. 787 (Oct., 1968), pp. 572–575.
  • Simon Vouet: 100 neuentdeckte Zeichnungen: aus den Beständen der Bayerischen Staatsbibliothek (catalogue of the exhibition). München: Staatliche Graphische Sammlung München, 1991.
  • Simon Vouet ou l'éloquence sensible: Dessins de la Staatsbibliothek de Munich (catalogue of the exhibition). Paris: Réunion des musées nationaux; Nantes: Musée des beaux-arts de Nantes, c. 2002.
  • Simon Vouet: les années italiennes, 1613–1627 (catalogue of the exhibition). Paris: Hazan; Nantes: Musée des beaux-arts; Besançon: Musée des beaux-arts et d'archéologie, 2008.
  • Thuillier, Jacques. Vouet: Galeries nationales du Grand Palais, Paris, 6 novembre 1990-11 février 1991 (catalogue of the exhibition). Paris: Réunion des musées nationaux, c. 1990.

External links

 
Wikimedia Commons has media related to Simon Vouet.
  • Three portraits by the artist who taught Louis XIII to draw, auctioned at Christie's 27 May 2020
  • 10 artworks by or after Simon Vouet at the Art UK site
  • Simon Vouet at Google Arts & Culture
  • Works at WGA
  • Simon Vouet paintings at the Hearst Castle in California
  • Simon Vouet's Saint Agnes, Saint Cecilia, and Portrait of a Gentleman at the Blanton Museum of Art
  • Simon Vouet at the J. Paul Getty Museum
  • Self-Portrait of Vouet, with fashion notes at Arte|Moda Archive, University of Bergamo
  • Article about Vouet and his wife and fellow painter Virginia da Vezzo (in Italian)
  • Sylvain Kerspern on portraits depicting Simon Vouet (in French)
  • L'homme à la figue (Man with figs), a look at the coded sexual meaning of Vouet's painting at Caen (in French)

April 06, 2023
simon, vouet, french, vwɛ, january, 1590, june, 1649, french, painter, studied, rose, prominence, italy, before, being, summoned, louis, xiii, serve, premier, peintre, france, studio, artists, created, religious, mythological, paintings, portraits, frescoes, t. Simon Vouet French vwɛ 9 January 1590 30 June 1649 was a French painter who studied and rose to prominence in Italy before being summoned by Louis XIII to serve as Premier peintre du Roi in France He and his studio of artists created religious and mythological paintings portraits frescoes tapestries and massive decorative schemes for the king and for wealthy patrons including Richelieu During this time Vouet was indisputably the leading artist in Paris 1 and was immensely influential in introducing the Italian Baroque style of painting to France He was also without doubt one of the outstanding seventeenth century draughtsmen equal to Annibale Carracci and Lanfranco 2 Simon VouetSelf portrait c 1626 1627 Musee des Beaux Arts de LyonBorn 1590 01 09 9 January 1590Paris FranceDied30 June 1649 1649 06 30 aged 59 Paris FranceEducationFather s studio years in Italy 1613 1627 Known forPainting DrawingMovementBaroquePatron s Louis XIII Cardinal Richelieu Contents 1 Career 2 Personal life 3 Legacy 4 Exhibitions 5 Works 5 1 Paintings 5 1 1 Louvre Paris 5 1 2 Elsewhere in France 5 1 3 Italy 5 1 4 Elsewhere in Europe 5 1 5 United States 5 1 6 Canada 5 1 7 Japan 5 2 Tapestries 6 Gallery of paintings chronological 7 Gallery Images of Vouet and his family 8 References 9 Bibliography 10 External linksCareer EditSimon Vouet was born on January 9 1590 in Paris 3 His father Laurent was a painter in Paris and taught him the rudiments of art Simon s brother Aubin Vouet was also a painter as also was Simon s wife Virginia da Vezzo their son Louis Rene Vouet their two sons in law Michel Dorigny and Francois Tortebat and their grandson Ludovico Dorigny Virginia da Vezzo the Artist s Wife as the Magdalen c 1627 LACMA Simon began his career as a portrait painter At age 14 he travelled to England to paint a commissioned portrait and in 1611 was part of the entourage of the Baron de Sancy French ambassador to the Ottoman Empire for the same purpose From Constantinople he went to Venice in 1612 and was in Rome by 1614 4 5 David with the Head of Goliath 1620 1622 Palazzo Bianco GenoaHe remained in Italy until 1627 mostly in Rome where the Baroque style was becoming dominant He received a pension from the King of France and his patrons included the Barberini family Cassiano dal Pozzo Paolo Giordano Orsini and Vincenzo Giustiniani 4 He also visited other parts of Italy Venice Bologna where the Carracci family had their academy Genoa where from 1620 to 1622 he worked for the Doria princes and Naples He was a natural academic who absorbed what he saw and studied and distilled it in his painting Caravaggio s dramatic lighting Italian Mannerism Paolo Veronese s color and di sotto in su or foreshortened perspective and the art of Carracci Guercino Lanfranco and Guido Reni While in Rome he befriended artist Artimesia Gentileschi and painted her portrait in 1623 6 Vouet s immense success in Rome led to his election as president of the Accademia di San Luca in 1624 7 His most prominent official commission of the Italian period was an altarpiece for St Peter s in Rome 1625 1626 destroyed at some time after 1725 though fragments remain 8 Judith with the Head of Holofernes c 1624 1626 painted by Virginia da Vezzo the first wife of Simon Vouet at the Musee des Beaux Arts de NantesIn response to a royal summons Vouet returned to France in 1627 where he was made Premier peintre du Roi Louis XIII commissioned portraits tapestry cartoons and paintings from him for the Palais du Louvre the Palais du Luxembourg and the Chateau de Saint Germain en Laye In 1632 he worked for Cardinal Richelieu at the Palais Royal and the Chateau de Malmaison In 1631 he decorated the chateau of the president de Fourcy at Chessy the hotel Bullion the chateau of Marshal d Effiat at Chilly the hotel of the Duc d Aumont the Seguier chapel and the gallery of the Chateau de Wideville Today a number of Vouet s paintings are lost and only two major decorative schemes survive those for the chateaux of Colombes and Chessy 9 but the details and imagery of many lost works are known from engravings by Michel Dorigny Francois Tortebat and Claude Mellan 4 Personal life Edit Vouet family tree simplified to show those known to be artists Simon and his father brother wife son sons in law and grandsonIn 1626 he married Virginia da Vezzo a painter in her own right known for her beauty 10 10 who modeled as the Madonna and female saints for Vouet s religious commissions The couple would have five children Virginia Vouet died in France in 1638 Two years later Vouet married a French widow Radegonde Beranger with whom he had three more children 10 13 Legacy Edit St Francis of Paola Resuscitating a Child 1648 L eglise Saint Henri de Levis Quebec the apogee of French seventeenth century painting As one art historian writes When Vouet returned to Paris in 1627 French art was painfully provincial and by Italian standards more than a quarter of a century behind the times Vouet introduced the latest fashions educated a group of talented young artists and the public as well and brought Paris up to date 1 Vouet s style became uniquely his own but was distinctly Italian importing the Italian Baroque into France A French contemporary lacking the term Baroque said In his time the art of painting began to be practiced here in a nobler and more beautiful way than ever before In his anticipation of the two dimensional curvilinear freedom of rococo compositions a hundred years later Vouet should perhaps be counted among the more important sources of eighteenth century painting 10 60 In his works for the French royal court Vouet s importance as a formulator of official decorations is in some ways comparable to that of Rubens 10 85 An engraving by Michel Dorigny reproduces a section of the elaborate murals Vouet painted in the Palais Royal in Paris for Anne of Austria a decorative scheme no longer extant Vouet s sizeable atelier or workshop produced a whole school of French painters for the following generation His most influential pupil was Charles le Brun who organized all the interior decorative painting at Versailles and dictated the official style at the court of Louis XIV of France but who jealously excluded Vouet from the Academie Royale in 1648 Vouet s other students included Valentin de Boulogne the main figure of the French Caravaggisti Francois Perrier Nicolas Chaperon Michel Corneille the Elder Charles Poerson Pierre Daret Charles Alphonse du Fresnoy Pierre Mignard Eustache Le Sueur Claude Mellan the Flemish artist Abraham Willaerts Michel Dorigny and Francois Tortebat These last two became his sons in law Andre Le Notre the garden designer of Versailles was a student of Vouet Also in Vouet s circle was a friend from his Italian years Claude Vignon During his lifetime writes Arnaud Brejon de Lavergnee Vouet s stature increased continually his paintings becoming ever more beautiful particularly in the last decade But although his career was as brilliant as can be imagined Vouet played no role in the foundation of the Academie Royale that was to be so dominant after his death and was neglected by the biographers and more influential amateurs Between 1660 and 1690 only Poussin and Rubens were taken seriously and later generations drew their own conclusions from this Further eroding his legacy Vouet was undoubtedly at his greatest in these ensembles his magnificent decorative schemes for chateaux and churches most of which were destroyed during the Revolution of the next century 9 Though never entirely forgotten by connoisseurs and collectors such as William Suida Vouet fell into a relative obscurity that was not remedied until William R Crelly s monograph of 1962 10 and then by the major retrospective of Vouet s work at the Grand Palais in Paris in 1990 1991 with its colloquium 11 and catalogue 12 which Brejon de Lavergnee says fulfilled its aim of rehabilitating the artist 9 The Simon Vouet retrospective is still vividly remembered Since then studies of the painter his circle and his students have abounded defining the image of the artist and his workshop ever more clearly 13 The exhibition s organizer Jacques Thuillier is surely justified in claiming the altarpiece of the Presentation of Jesus in the Temple as among the greatest masterpieces of seventeenth century monumental painting writes Brejon de Lavergnee who further asserts that in the artist s works of the 1640s such as Saint Francis of Paola Resuscitating a Child one can see Vouet concluding his career with pictures of an immense gravity informed by an intense spiritual energy Images of the greatest force these paintings constitute the apogee of French seventeenth century painting 9 Two Modelli for Altarpiece in St Peter s 1625 LACMAExhibitions Edit1967 Vouet to Rigaud French Masters of the Seventeenth Century Finch College Museum of Art New York 20 April 1967 18 June 1967 1971 Simon Vouet 1590 1649 First Painter to the King University of Maryland Art Gallery College Park MD 18 February 1971 28 March 1971 1990 1991 Vouet Galeries Nationales of the Grand Palais Paris 6 November 11 February 1991 a major retrospective of Simon Vouet s work 1991 Simon Vouet 100 neuentdeckte Zeichnungen Neue Pinakothek Munich 9 May 30 June 1991 exhibition of 100 newly discovered drawings from the holdings of the Bavarian State Library 2002 2003 Simon Vouet ou l eloquence sensible Musee des Beaux Arts de Nantes 5 December 2002 20 February 2003 exhibition of drawings from the Bavarian State Library in Munich 2005 2006 Loth et ses filles de Simon Vouet Eclairages sur un chef d œuvre Musee des Beaux Arts de Strasbourg 22 October 2005 22 January 2006 2008 2009 Simon Vouet les annees italiennes 1613 1627 Musee des Beaux Arts de Nantes 21 November 2008 23 February 2009 and Musee des Beaux Arts et d Archeologie de Besancon 27 March 29 June 2009 Presentation of Jesus in the Temple 1641 Louvre among the greatest masterpieces of seventeenth century monumental painting 9 Crucifixion 1636 1637 Musee des Beaux Arts de Lyon Apparition of the Virgin and the Infant Jesus to Saint Anthony 1630 1631 L eglise Saint Roch de Quebec displayed in Canada in 2017 and in France in 2018 in the exhibition The Fabulous Destiny of the Paintings of the Abbes Desjardins Le Fabuleux Destin des Tableaux des Abbes Desjardins A Can 30 573 restoration in 2016 removed a 19th century Canadian artist s overpainting including a dog and a pilgrim s flask that had changed Saint Anthony into Saint Roch 14 15 Works EditPaintings Edit Crelly s catalogue raisonne of 1962 10 147 lists more than 150 preserved paintings by Vouet Since that publication a number of paintings some of them of considerable importance have turned up in various parts of the world and the list of his work continues to grow 16 A new catalogue raisonne by Arnauld and Barbara Brejon de Lavergnee is forthcoming 17 This is a partial list by present location and then as possible by date Louvre Paris Edit Prince Marcantonio Doria d Angri 1621 Saint William of Aquitaine 1622 1627 The Holy Family with St Elisabeth and the Infant St John the Baptist 1625 1650 Woman Wearing a White Veil 1630s Allegory of Wealth c 1635 1640 Allegory of Charity 1630 1635 Gaucher de Chatillon 1632 1635 Allegory of Virtue c 1634 Heavenly Charity c 1640 Presentation of Jesus in the Temple 1641 Hesselin Madonna or Madonna of the Oak Cutting c 1640 1645 Portrait of Louis XIII between two female figures symbolising France and Navarre 1643 Portrait of a Young Man Polymnia Muse of EloquenceElsewhere in France Edit Presumed portrait of Aubin Vouet the artist s brother c 1620 Musee Reattu Arles Anges portant les instruments de la Passion 1625 Musee des Beaux Arts et d Archeologie de Besancon Cupid and Psyche 1626 1629 Musee des Beaux Arts de Lyon Self portrait 1626 1627 Musee des Beaux Arts de Lyon Suite of the loves of Rinaldo and Armida 1631 based on Tasso s epic poem Jerusalem Delivered collection of Guyot de Villeneuve Paris Repentant Magdalen 1633 Musee de Picardie Amiens Ceres Trampling the Attributes of War 1635 Musee des Beaux arts Thomas Henry Cherbourg Octeville Deposition of Christ c 1635 Musee d art moderne Andre Malraux Le Havre Lot and his Daughters 1633 Musee des Beaux Arts de Strasbourg subject of a special exhibit in 2005 2006 18 Crucifixion 1636 1637 Musee des Beaux Arts de Lyon The Four Cardinal Virtues Allegory of Temperance Allegory of Force Allegory of Prudence Allegory of Justice 1638 Salon de Mars Versailles Death of Dido c 1641 Musee des Beaux Arts de Dole Time Vanquished by Love Venus and Hope 1640 1645 Musee des Arts Decoratifs Bourges Allegorie de la Charite 1640 1645 possibly a studio work Musee d Art et d Histoire de Draguignan Last Supper Musee des Beaux Arts de LyonItaly Edit Mary Magdalene 1614 1615 Quirinal Palace Rome Angel with Dice and Tunic and Angel with Spear of the Passion 1615 1625 Museo di Capodimonte Naples Last Supper 1616 1620 Palazzo Comunale Loreto Crucifixion 1621 6122 Chiesa del Gesu Genoa Young Man with a ruff 1620 Luigi Koeliker Collezione Milano David with the Head of Goliath 1620 1622 Palazzo Bianco Genoa Nativity of the Virgin c 1629 San Francesco a Ripa Rome Annunciation c 1621 1622 Uffizi Florence Circumcision of Jesus 1622 Museo di Capodimonte Naples Portrait of Artemisia Gentileschi with Painting Implements c 1623 1625 private collection Temptation of Saint Francis and Saint Francis Renouncing His Goods 1624 1625 San Lorenzo in Lucina Rome Saint Agatha s Vision of Saint Peter in Prison c 1625 Palazzo Abatellis PalermoElsewhere in Europe Edit The Annunciation n d Pushkin Museum Moscow Lovers 1614 1618 Pushkin Museum Moscow Judith 1620 1622 Kunsthistorisches Museum Vienna The Ill Matched Couple Vanitas c 1621 National Museum Warsaw Sophonisba Receiving the Poisoned Chalice c 1623 Gemaldegalerie Alte Meister Dresden Time Vanquished by Love Beauty and Hope 1627 Prado Madrid Diana 1637 Cumberland Gallery Hampton Court Palace England Sleeping Venus 1630 1640 Museum of Fine Arts Budapest Parnassus or Apollo and the Muses c 1640 Museum of Fine Arts Budapest The Awakening of Europa 1640 Museum Thyssen Bornemisza Madrid Artemisia Building the Mausoleum early 1640s Nationalmuseum Stockholm Judith Alte Pinakothek Munich Saint Jerome c 1620 National Library of Wales WalesUnited States Edit Saint Agnes c 1615 Blanton Museum of Art Austin The Halberdier c 1615 1620 Dayton Art Institute Woman Playing a Guitar c 1618 Metropolitan Museum of Art New York Portrait of a Gentleman c 1620 Blanton Museum of Art Austin Saint Luke and Saint John 1622 1625 Philadelphia Museum of Art Saint Jerome and the Angel c 1622 1625 National Gallery of Art Washington D C Two Modelli for Altarpiece in St Peter s 1625 LACMA Los Angeles Saint Sebastian c 1625 Museum of Fine Arts Houston The Holy Family with the Infant Saint John the Baptist 1626 Legion of Honor San Francisco Saint Cecilia c 1626 Blanton Museum of Art Austin Salome 1626 1627 Crocker Art Museum Sacramento Angels with Attributes of the Passion Angel Holding the Vessel and Towel for Washing the Hands of Pontius Pilate and Angel with the Superscription from the Cross 1627 Minneapolis Institute of Arts Virginia da Vezzo the Artist s Wife as the Magdalen c 1627 LACMA Los Angeles Saint Mary Magdalen c 1630 Cleveland Museum of Art Diana and Endymion and Neptune and Amphitrite 1630s 16 Hearst Castle San Simeon Madonna and Child 1633 National Gallery of Art Washington D C Aeneas and His Father Fleeing Troy c 1635 San Diego Museum of Art The Toilet of Venus 1640 Carnegie Museum of Art Pittsburgh Sacrifice of Isacc 1642 Milwaukee Museum of Art Milwaukee Venus and Adonis 1642 J Paul Getty Museum Los Angeles King David Playing the Harp c 1630s Museum amp Gallery Inc Greenville SCCanada Edit The Fortune teller c 1620 National Gallery of Canada Ottawa Apparition of the Virgin and the Infant Jesus to Saint Anthony 1630 1631 by Vouet in collaboration with Francois Perrier L eglise Saint Roch de Quebec Quebec City Saint Francis of Paola Resuscitating a Child 1648 L eglise Saint Henri de Levis QuebecJapan Edit St Catherine n d National Museum of Western Art Tokyo Chariclea Led Away by Pirates c 1634 35 one of six Vouet tapestries at the Legion of Honor San Francisco Tapestries Edit Compositions by Vouet preserved in tapestries 10 266 include Twelve tapestries based on scenes from Tasso s epic poem Jerusalem Delivered including Rinaldo in the Arms of Armida at the Louvre Six tapestries from the series The Story of Theagenes and Chariclea 1634 1635 based on scenes from the ancient Greek novel Aethiopica at the Legion of Honor San Francisco Eight tapestries based on scenes from the Old Testament including Moses Saved from the Waters The Finding of Moses c 1630 at the Louvre Eight tapestries based on scenes from the Odyssey Twenty three tapestries based on Loves of the Gods including Neptune and Ceres and Aurora and Cephalus at the Hotel de Sully Gallery of paintings chronological Edit Parnassus or Apollo and the Muses c 1640 Museum of Fine Arts Budapest St Catherine n d National Museum of Western Art Tokyo Mary Magdalen 1614 1615 Quirinal Palace Rome Lovers 1614 1618 Pushkin Museum Moscow Saint Agnes c 1615 Blanton Museum of Art Woman Playing a Guitar c 1618 Metropolitan Museum of Art The Halberdier c 1615 1620 Dayton Art Institute Angel with Dice and Tunic 1615 1625 Museo di Capodimonte Naples Angel with Spear of the Passion 1615 1625 Museo di Capodimonte Naples Portrait of a Gentleman c 1620 Blanton Museum of Art Saint Jerome c 1620 National Library of Wales Aberystwyth The Fortune teller c 1620 National Gallery of Canada The Ill Matched Couple Vanitas c 1621 National Museum Warsaw Judith 1620 1622 Kunsthistorisches Museum Vienna Circumcision of Jesus 1622 Museo di Capodimonte Naples Judith c 1620 1625 Alte Pinakothek Munich Saint Luke 1622 1625 Philadelphia Museum of Art Saint John 1622 1625 Philadelphia Museum of Art Saint Jerome and the Angel c 1622 1625 National Gallery of Art Washington D C Saint William of Aquitaine 1622 1627 Louvre Sophonisba Receiving the Poisoned Chalice c 1623 Gemaldegalerie Alte Meister Portrait of Artemisia Gentileschi with Painting Implements c 1623 1625 private collection Angels Carrying Instruments of the Passion 1625 Musee des Beaux Arts et d Archeologie de Besancon Saint Agatha s Vision of Saint Peter in Prison c 1625 Palazzo Abatellis Palermo Saint Sebastian c 1625 Museum of Fine Arts Houston Saint Cecilia c 1626 Blanton Museum of Art The Holy Family with the Infant Saint John the Baptist 1626 Legion of Honor San Francisco Salome 1626 1627 Crocker Art Museum Sacramento Cupid and Psyche 1626 1629 Musee des Beaux Arts de Lyon Angel Holding the Vessel and Towel for Washing the Hands of Pontius Pilate 1627 Minneapolis Institute of Arts Angel with the Superscription from the Cross 1627 Minneapolis Institute of Arts Time Vanquished by Love Beauty and Hope 1627 Prado Nativity of the Virgin c 1629 San Francesco a Ripa Rome Saint Mary Magdalene c 1630 Cleveland Museum of Art Neptune and Amphitrite 1630s Hearst Castle Woman Wearing a White Veil 1630s Louvre Madonna and Child 1633 National Gallery of Art Washington D C Lot and His Daughters 1633 Musee des Beaux Arts de Strasbourg Portrait of a Man Aged 75 1634 chalk pastel and ink on paper private collection Ceres Trampling the Attributes of War 1635 Musee des Beaux arts Thomas Henry Cherbourg Octeville Aeneas and his Father Fleeing Troy c 1635 San Diego Museum of Art Deposition of Christ c 1635 Musee d art moderne Andre Malraux Le Havre Allegory of Wealth c 1635 1640 Louvre Diana 1637 Cumberland Gallery Hampton Court Palace Sleeping Venus 1630 1640 Museum of Fine Arts Budapest Heavenly Charity c 1640 Louvre The Toilet of Venus c 1640 Carnegie Museum of Art Pittsburgh The Death of Dido c 1641 Musee des Beaux Arts de Dole Artemisia Building the Mausoleum early 1640s Nationalmuseum Stockholm Venus and Adonis 1642 J Paul Getty Museum Portrait of Louis XIII 1643 Louvre Hesselin Madonna or Madonna of the Oak Cutting c 1640 1645 Louvre Time Vanquished by Love Venus and Hope 1640 1645 Musee des Arts Decoratifs Bourges Allegorie de la Charite 1640 1645 possibly a studio work Musee d Art et d Histoire de Draguignan Portrait of man in profile turned to the left n d private collection Portrait of Cardinal Jules Mazarin n d private collection Cabinet attributed to Pierre Gole 19 c 1620 1684 Legion of Honor San FranciscoGallery Images of Vouet and his family Edit Simon Vouet Self portrait Uffizi Simon Vouet presumed self portrait c 1620 1625 Musee de Picardie Ottavio Leoni Portrait of Simon Vouet 1625 Simon Vouet Self portrait c 1626 1627 Musee des Beaux Arts de Lyon Nicolas Mignard Portrait of Simon Vouet Francois Perrier Portrait of Simon Vouet 1632 Robert Van Voerst after Anthony van Dyck Portrait of Simon Vouet Portrait of Simon Vouet by his son in law Francois Tortebat Versailles Frederic Hillemacher Portrait of Simon Vouet etching 1854 British Museum Simon Vouet Presumed portrait of Aubin Vouet the artist s brother c 1620 Musee Reattu Arles Simon Vouet Portrait of a Woman Probably Urulsa da Vezzo Sister in Law of the Artist as St Catherine c 1620s private collection Simon Vouet fragment of a possible portrait of Virginia da Vezzo c 1624 26 Gemaldegalerie Berlin Claude Mellan Portrait of Virginia da Vezzo 1626 wife of Simon Vouet Simon Vouet Virginia da Vezzo the Artist s Wife as the Magdalen c 1627 LACMA Simon Vouet Portrait of Angelique Vouet his daughter pastel LouvreReferences Edit a b Posner Donald The Paintings of Simon Vouet book review The Art Bulletin Vol 45 No 3 Sept 1963 pp 286 291 Rosenberg Pierre Musee du Louvre Cabinet des Dessins Inventaire general des dessins Ecole francaise Dessins de Simon Vouet 1590 1649 by Barbara Brejon de Lavergnee book review Master Drawings Vol 25 No 4 Winter 1987 p 414 Simon Vouet at the Encyclopaedia Britannica a b c Brejon de Lavergnee Barbara Simon Vouet Oxford Art Online Artist Info www nga gov Retrieved 20 April 2018 Universalis Encyclopaedia ARTEMISIA GENTILESCHI Encyclopaedia Universalis in French Retrieved 2022 12 11 Bissell R Ward 2011 Simon Vouet Raphael and the Accademia di San Luca in Rome Artibus et Historiae 32 63 55 72 JSTOR 41479737 Schleier Erich A Bozzetto by Vouet Not by Lanfranco The Burlington Magazine Vol 109 No 770 May 1967 pp 272 274 276 a b c d e Brejon de Lavergnee Arnauld Paris Vouet at the Grand Palais review of the exhibition The Burlington Magazine Vol 133 No 1055 Feb 1991 pp 136 140 a b c d e f g Crelly William R The Paintings of Simon Vouet Yale University Press 1962 Loire Stephane editor Simon Vouet actes du colloque international Galeries nationales du Grand Palais 5 6 7 fevrier 1991 Paris Publication Information c1992 Thuillier Jacques Vouet Galeries nationales du Grand Palais Paris 6 novembre 1990 11 fevrier 1991 catalogue of the exhibition Paris Reunion des musees nationaux c 1990 Rykner Didier Simon Vouet The Italian Years 1613 1617 review of the exhibit thearttribune com Retrieved 2019 10 24 Durox Solenne Confisques pendant la Revolution ces tableaux ont beaucoup voyage Le Parisien 4 November 2017 Patrimoine religieux aide financiere pour les eglises Saint Roch et Saint Sauveur monsaintroch com Retrieved 2019 10 16 a b Fredericksen Burton B Two Newly Discovered Ceiling Paintings by Simon Vouet The J Paul Getty Museum Journal Vol 5 1977 pp 95 100 Simon Vouet Study of a Young Woman as the Virgin sothebys com Retrieved 2019 10 18 Loth et ses filles de Simon Vouet Eclairages sur un chef d œuvre www musees strasbourg eu The carvings on the exterior doors may derive from Simon Vouet according to Renee Dreyfus Legion of Honor Selected Works Fine Arts Museums of San Francisco 2007 p 51 Bibliography EditBissell R Ward 2011 Simon Vouet Raphael and the Accademia di San Luca in Rome Artibus et Historiae Vol 32 No 63 2011 pp 55 72 Blunt Anthony Some Portraits by Simon Vouet The Burlington Magazine for Connoisseurs Vol 88 No 524 Nov 1946 pp 268 270 271 273 Brejon de Lavergnee Arnauld Four New Paintings by Simon Vouet The Burlington Magazine Vol 124 No 956 Nov 1982 pp 685 689 Brejon de Lavergnee Arnauld Paris Vouet at the Grand Palais review of the exhibition The Burlington Magazine Vol 133 No 1055 Feb 1991 pp 136 140 Brejon de Lavergnee Arnauld Simon Vouet Nantes and Besancon review of the exhibition The Burlington Magazine Vol 151 No 1272 Mar 2009 pp 187 189 Brejon de Lavergnee Barbara Musee du Louvre Cabinet des Dessins Inventaire general des dessins Ecole francaise Dessins de Simon Vouet 1590 1649 Paris Reunion des musees nationaux 1987 Comprehensive catalogue of the drawings of Vouet in the Louvre and elsewhere Brejon de Lavergnee Barbara New Attributions around Simon Vouet Master Drawings Vol 23 24 No 3 1985 1986 pp 347 351 425 432 Brejon de Lavergnee Barbara Some New Pastels by Simon Vouet Portraits of the Court of Louis XIII The Burlington Magazine Vol 124 No 956 Nov 1982 pp 688 691 693 Crelly William R The Painting of Simon Vouet Yale University Press 1962 Fredericksen Burton B Two Newly Discovered Ceiling Paintings by Simon Vouet The J Paul Getty Museum Journal Vol 5 1977 pp 95 100 Gomez Susana The Encounter of the Emblematic Tradition with Optics The Anamorphic Elephant of Simon Vouet Nuncius Journal of the Material and Visual History of Science vol 31 issue 2 pp 288 331 Loire Stephane eitor Simon Vouet actes du colloque international Galeries nationales du Grand Palais 5 6 7 fevrier 1991 Paris Publication Information c1992 Loth et ses filles de Simon Vouet Eclairages sur un chef d œuvre catalogue of the exhibition Strasbourg Musee des Beaux Arts de Strasbourg 2005 Lurie Ann Tzeutschler The Repentant Magdalene by Simon Vouet The Bulletin of the Cleveland Museum of Art Vol 80 No 4 Apr 1993 pp 158 163 Manning Robert Some Important Paintings by Simon Vouet in America in Studies in the History of Art Dedicated to William E Suida on His Eightieth Birthday Kress Foundation Phaidon Press 1959 Markova Vittoria A New Painting by Vouet in Russia The Burlington Magazine Vol 132 No 1050 Sept 1990 pp 632 633 Posner Donald The Painting of Simon Vouet book review The Art Bulletin Vol 45 No 3 Sept 1963 pp 286 291 Rice Louise Simon Vouet s Hesperus and the Mythopoetics of Praise Studies in the History of Art Vol 74 Symposium Papers LI Dialogues in Art History from Mesopotamian to Modern Readings for a New Century 2009 pp 236 251 Schleier Erich A Bozzetto by Vouet Not by Lanfranco The Burlington Magazine Vol 109 No 770 May 1967 pp 272 274 276 Schleier Erich Two New Modelli for Vouet s St Peter s Altarpiece The Burlington Magazine Vol 114 No 827 Feb 1972 pp 90 94 Schleier Erich Vouet s Destroyed St Peter Altar Piece Further Evidence The Burlington Magazine Vol 110 No 787 Oct 1968 pp 572 575 Simon Vouet 100 neuentdeckte Zeichnungen aus den Bestanden der Bayerischen Staatsbibliothek catalogue of the exhibition Munchen Staatliche Graphische Sammlung Munchen 1991 Simon Vouet ou l eloquence sensible Dessins de la Staatsbibliothek de Munich catalogue of the exhibition Paris Reunion des musees nationaux Nantes Musee des beaux arts de Nantes c 2002 Simon Vouet les annees italiennes 1613 1627 catalogue of the exhibition Paris Hazan Nantes Musee des beaux arts Besancon Musee des beaux arts et d archeologie 2008 Thuillier Jacques Vouet Galeries nationales du Grand Palais Paris 6 novembre 1990 11 fevrier 1991 catalogue of the exhibition Paris Reunion des musees nationaux c 1990 External links Edit Wikimedia Commons has media related to Simon Vouet Three portraits by the artist who taught Louis XIII to draw auctioned at Christie s 27 May 2020 10 artworks by or after Simon Vouet at the Art UK site Simon Vouet at Google Arts amp Culture Works at WGA Simon Vouet paintings at the Hearst Castle in California Simon Vouet s Saint Agnes Saint Cecilia and Portrait of a Gentleman at the Blanton Museum of Art Simon Vouet at the J Paul Getty Museum Self Portrait of Vouet with fashion notes at Arte Moda Archive University of Bergamo Article about Vouet and his wife and fellow painter Virginia da Vezzo in Italian Sylvain Kerspern on portraits depicting Simon Vouet in French L homme a la figue Man with figs a look at the coded sexual meaning of Vouet s painting at Caen in French Retrieved from https en wikipedia org w index php title Simon Vouet amp oldid 1126946055, wikipedia, wiki, book, books, library,

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