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130:, who had been in Rome since 1614. Vouet encouraged Mellan to draw, considering it essential for both engraving and painting. Mellan engraved some of Vouet's works and also began drawing small portraits from life. Many of his portrait drawings were never engraved. He developed a style that was simple and natural, that would be characteristic throughout his later career. Many of his engravings in Rome were reproductive works, including, for example, designs by
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His first known print (Préaud no. 288), made for a thesis in theology at the Collège des
Mathurins, shows that he was in Paris by 1619. His first teachers have not been identified, but his early engravings are thought to show the influence of
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The effect, which he produced by this method of engraving, is soft and clear. In single figures, and small subjects, he succeeded very happily; but in large subjects, where great depth of shadow was required, he has failed....
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and others in Paris in the middle of the 17th century." Among Mellan's reproductive engravings are two frontispieces for religious works after designs by
Poussin (1640; Préaud no. 294) and Stella (1641; Préaud no. 296).
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During this later period in Paris, Mellan mostly engraved his own work. He was much sought after as a portrait artist, drawing from life and engraving the portraits. Among his subjects were members of the
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A Biographical
Dictionary Containing an Historical Account of All the Engravers, from the Earliest Period of the Art of Engraving to the Present Time
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catalogued 400 engravings by Mellan, and about 100 drawings are known. The latter are mostly in the
Stockholm Nationalmuseum (via the collection of
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596:, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries, which contains material on Claude Mellan (see index)
231:, Mellan's use of the single line gives "an abstract effect" and, "as an engraver he proved sensitive to the classical ideal developed by
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266:(Préaud no. 84). A few other paintings were attributed to him, beginning in the 1970s, but these have not been generally accepted.
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He also created large religious works with geometric layouts and poses. According to
Barbara Brejon de Lavergnée, writing in
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146:(Préaud no. 113). The plates Mellan engraved in Rome were mostly executed in a conventional manner.
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collection). Several of Mellan's lost paintings are known from his engravings of them, including
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475:. Vol. 21 (Reprinted with minor corrections ed.). New York: Grove. pp. 85–86.
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563:. Vol. 2. New Bond Street, London: J. Davis, For Robert Faulder. pp. 142–144
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Inventaire du fonds français: Graveurs du dix-septième siècle. Tome 17, Claude Melan
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Brejon de
Lavergnée, Barbara (1996). "Mellan, Claude". In Turner, Jane (ed.).
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In 1624 Mellan went to Rome, where he studied engraving for a brief time with
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86:(23 May 1598 – 9 September 1688) was a French draughtsman,
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Catalogue raisonné de l'oeuvre de Claude Mellan d'Abbeville
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The Collège des
Mathurins was a constituent college of the
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Montaiglon, Anatole de; Mariette, Pierre Jean (1856).
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Montaiglon 1856, cited by Brejon de
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35:Self-portrait, engraving by Claude Mellan (1635),
499:(4th ed.). Oxford: Oxford University Press.
311:Engraving catalog numbers are from Préaud 1988.
473:The Dictionary of Art: In Thirty-four Volumes
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126:, who died that year. He then studied under
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497:The Oxford Dictionary of Art and Artists
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194:(1649; Préaud no. 21), also called the
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264:Saint John the Baptist in the Desert
302:23 May 1598 is his date of baptism.
154:In 1637, after a period of time in
186:, engraving by Claude Mellan, 1649
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537:. Paris: Bibliothèque Nationale.
106:, the son of a customs official.
593:Orazio and Artemisia Gentileschi
520:(in French). Abbeville: P. Briez
220:Henri de Savoie, Duc de Nemours
216:Marie-Louise de Gonzague-Nevers
160:Nicolas-Claude Fabri de Peiresc
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625:17th-century French engravers
252:Hermitage, Saint Petersburg
16:French engraver and painter
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196:Sudarium of Saint Veronica
184:Sudarium of Saint Veronica
37:Metropolitan Museum of Art
212:Nationalmuseum, Stockholm
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491:(subscription required).
415:Brejon de Lavergnée 1996
142:(Préaud no. 77) and the
630:French Baroque painters
533:Préaud, Maxime (1988).
208:royal family of Bourbon
98:Early life and training
495:Chilvers, Ian (2009).
326:fr:Université de Paris
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610:People from Abbeville
244:Anatole de Montaiglon
228:The Dictionary of Art
218:(Préaud no. 167) and
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140:Saint Francis de Paul
150:Later years in Paris
262:(Préaud no. 5) and
136:Gianlorenzo Bernini
124:Francesco Villamena
102:Mellan was born in
260:Samson and Delilah
248:Carl Gustav Tessin
222:(Préaud no. 182).
192:The Face of Christ
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144:Penitent Magdalene
489:Oxford Art Online
283:Maddalena Corvina
132:Pietro da Cortona
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71:(1688-09-09)
620:1688 deaths
615:1598 births
446:Strutt 1786
434:Strutt 1786
269:He died in
128:Simon Vouet
54:23 May 1598
604:Categories
336:References
250:) and the
50:1598-05-23
567:2 January
524:2 January
371:2 January
254:(via the
104:Abbeville
58:Abbeville
555:(1786).
487:Also at
322:Sorbonne
277:See also
88:engraver
60:, France
256:Cobenzl
170:wrote:
92:painter
573:Vols.
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90:, and
324:(see
290:Notes
271:Paris
198:(see
158:with
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539:ISBN
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501:ISBN
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134:and
118:Rome
66:Died
44:Born
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
