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subtly rigorous construction and learned use of rules, as well as religious and mythological subject pictures with an evidently decorative character; compounding the enigma is the fact that the still lifes are signed while the subject paintings are not." During the twentieth century, some scholars speculated that there were two painters with the same name.
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The divergence of style between Baugin's still lifes and his religious paintings is, according to the art historian Arnaud Brejon de
Lavergnée, "one of the great paradoxes of seventeenth-century French art: that one and the same artist ... should have produced still-life paintings controlled by a
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In contrast to the precise observation of Baugin's still lifes, his religious and historical paintings are stylized and graceful, showing the influence of
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to a prosperous family. Although it is not known to whom he was apprenticed, he received his artistic training from 1622 to 1628, and entered the
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69:(c. 1612 – July 11, 1663) was a French painter known for a small number of still lifes, and for religious and mythological paintings.
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calls Baugin "one of the most innovative of all French still life painters", and says the off-balance perspective of the
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Most of his surviving subject pictures are religious works, including numerous small paintings representing the
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of St.-Germaine-des-Prés as a master painter on May 23, 1629. His earliest surviving paintings are
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Georges Braque and Others: The
Selected Art Writings of Trevor Winkfield (1990-2009)
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Bénézit, E., Busse, J., Dorny, C., Murray, C. J., & Beaulah, K. (2006).
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De
Lavergnée, A. (2002). "Lubin Baugin. Orléans and Toulouse".
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produces a "topographical alienation" reminiscent of the
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The four still lifes securely attributed to Baugin—
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44:(1630), oil on wood, Galleria Spada,
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56:Holy Family with Angels and Saints
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172:Bénézit et al. 2006, p. 1348.
326:17th-century French painters
124:Still life with Water Wafers
112:Still life with Candlestick
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132:Still life with Chessboard
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24:Still life with Chessboard
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195:Turner 1996, v3: p. 399.
108:Still life with Apricots
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266:The Dictionary of Art
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