204:", his pastels and oils willingly play on monochrome variations: the ochres of the portrait of Mme. de Sorquainville, the grays of Pierre Bouguer, François-Hubert Drouais or Laurent Cars, the blue-grays of the Fillette au chat from the National Gallery in London. Georges Brunel notes that 'Perronneau's pastels always look somewhat unfinished, or weathered by time', and adds: 'Misleading impression, as it is probably a deliberate choice of style and technique. Above all, Perronneau seeks solidity and strength .
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Perronneau produced a varied body of work in which he insists on the psychology of his characters and transmits a little of the spirit of the
Enlightenment, as evidenced by the expressiveness of the faces he depicts, the liveliness of the looks, the half-smiles we can watch and guess about. Often
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Unusually for his time, Perronneau also depicts cats in the foreground, that is to say as pets. This is the case for
Magdaleine Pinceloup de La Grange, for Mlle Huquier or for the Girl with a Cat (1745) from the National Gallery in London –undoubtedly one of her most famous works-.
144:. In the Salon of 1750, Perronneau exhibited his pastel portrait of Maurice Quentin de la Tour, but found to his dismay that La Tour was exhibiting his own self-portrait, perhaps a malicious confrontation to demonstrate his superiority in the technique. He made his
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164:. After 1779 he no longer exhibited in the Paris Salons, but the clientele in his portraits reveal how widely he travelled in the provinces of France, with a group of sitters connected with
140:, rue Saint-Jacques, Paris, making his first portraits in oils, and especially in pastels, in the 1740s. His career was much in the shadow of the master of the French pastel portrait,
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236:(1761) testified twice at court during the famous trial of his painter friend, TheĂłdore Gardelle, who had brutally killed and burned his landlady.
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and
America. Although his work is particularly dispersed, the two most important public collections are at the Louvre, in Paris, and at the
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Several portraits of this artist can be found today in various museums or private collections in
108:(c. 1716 – 19 November 1783) was a French painter who specialized in portraits executed in
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Jean-Baptiste
Perronneau, ca. 1715-1783: un portraitiste dans l'Europe des Lumières
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Perronneau died in
Amsterdam virtually unknown, according to his biographers.
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J. B. Perronneau, old fashioned silhoutte style by Carlos
Fuentes y Espinosa.
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The
National Gallery has Perronneau's masterful portrait of Jacques Cazotte
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debut with a pastel portrait in 1746 and received full membership in the
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432:(in German). Vol. 26. Leipzig: E. A. Seemann. pp. 441–442.
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Jeffares, Dictionary of pastellists before 1800, online edition
410:(in French). Paris: Librairie nationale d'art et d'histoire.
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National
Gallery of Art, Washington: Jean-Baptiste Perronneau
426:(1932). "Perroneau, Jean-Baptiste". In Vollmer, Hans (ed.).
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J.-B. Perronneau (1715-1783) : sa vie et son oeuvre
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Jean-Baptiste
Perronneau, Madame de Sorquainville, 1749
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Vaillat, LĂ©andre and
Ratouis de Limay, Paul (1923).
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356:(catalogue raisonné) (in French). Paris: Arthena.
287:National Gallery, London: Jean-Baptiste Perronneau
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277:Getty Museum: Jean-Baptiste Perronneau
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180:. Farther afield he may have been in
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371:Klingsöhr-Le Roy, Cathrin (1996).
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469:18th-century French male artists
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322:Benezit Dictionary of Artists
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352:D'Arnout, Dominique (2014).
373:"Perronneau, Jean-Baptiste"
200:close to the harmonies of "
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375:. In Turner, Jane (ed.).
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184:and Rome, and in Spain,
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319:(2006) .
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