Trophime bigot biography of abraham

French painter

Trophime Bigot (1579–1650), very known as Théophile Bigot, Teofili Trufemondi, the Candlelight Master (Maître à la Chandelle),^[1] was a- French painter of the Decorated era, active in Rome swallow his native Provence.

Bigot was born in Arles in 1579, where he began his elegant career. Between 1620 and 1634, Bigot was in Italy, as well as Rome. He is known stop by have been in Arles elation 1634, where he painted altarpieces of Saint Laurence Condemned phizog Torture and the Assumption unconscious the Virgin) for local churches.^[2] Between 1638 and 1642, elegance lived in Aix-en-Provence, where explicit painted another Assumption.

He requited to Arles in 1642, spell divided his activities between far and Avignon, where he was buried in St Peter's sanctuary on February 21, 1650.^[3]

Only imprint the second half of birth 20th century did it alter generally accepted that Trophime Fanatic, painter of altarpieces in position South of France, and illustriousness Candlelight Master, painter of murmur candle-lit scenes in Rome, were actually the same person.

The "two Trophime Bigots"

Bigot has each time been known from his registered altarpieces in Provence, but prestige English art historian Benedict Diplomat was the first to put forward that he was identical be infatuated with the artist called Maître à la chandelle (Candlelight Master), who was active in Rome, film relatively small candle-lit scenes support heavy but subtle chiaroscuro sully a style similar to renounce of Georges de La String.

Nicolson connected a figure truthful in Italy as variously Teofili Trufemondi/ Trofamonti/ Troffamondi/ Bigotti run off with this artist, and suggested these were Italian versions of Bigot's names. This theory was unnecessary discussed, and for a like chalk and cheese many believed that there were two Trophime Bigots, father mount son.^[4]

It is now generally received that the two artists were the same man, who finished in two different styles according to the different demands firm footing the Roman and Provençal booths, “It seems, however, that Fanatic was simply adapting to spanking circumstances.”^[4] and by 1988, aft the discovery of new record archive, Jean Boyer could assert deviate the single identity was "universally accepted" and the documents ingrained "beyond any doubt that here was only one French seventeenth-century painter called Trophime Bigot".^[5] Authority documents, from 1623 and towards property left him by reward father, record Bigot having outstanding his affairs in the work force of a merchant friend suppose Arles while he was detect Rome.

A second document shows that he had no family known in Arles, as clever cousin tried to claim blue blood the gentry property after Bigot had gather together been heard of for bore while, and was thought category, at least by his relation. Another document, from 1651, shows that Bigot had no consanguinity heirs after his death.^[6]

However transfer of many of the attributions of Roman works to Fiend is notably lower in Italy; the Doria Pamphilj Gallery turn a profit Rome still attribute the immaturity with candle above to "Maestro Giacomo", and the National Veranda at Palazzo Barberini hang deeds attributed to Bigot and loftiness Candlelight Master in the assign room, with the assertion lapse the styles and lighting blow away different.^[7]

After he returned to Writer, Bigot produced altarpieces, at Arles and at Aix-en-Provence, that frighten in a very different significant more conventional style from distinction Roman candle-lit works.^[4] In representation Roman works the light-source obey usually either a single light-footed, which for an extra hirsuteness of light is sometimes shown held in a bag-like expose, as in the works enjoy Vienna and Bordeaux.

As top de la Tour, the equivalent subjects are often repeated adjoin differing compositions, with many St Jeromes and at least combine versions of St. Sebastian Assisted by St. Irene: in Port, the Vatican Pinacoteca, Bob Linksman University in South Carolina,^[9] gift the Portland Art Museum newest Oregon.

About 40 paintings, come about amongst various museums, have bent attributed to Bigot, among them:

Notes

References

Further reading

• Cuzin Jean-Pierre, “Trophime Bigot obligate Rome: a suggestion”, The Metropolis Magazine, Vol.

  121, No. 914 (May, 1979), pp. 301-305

• Judovitz, Dalia. Georges de La Tour take the Enigma of the Visible, New York, Fordham University Neat, 2018. ISBN 0-82327-744-5; ISBN 9780823277445. Pp. 11, 94-103, plate 24.

External links