Sébastien Bourdon
Paintings
Christ Receiving the Children
The brazen serpent
The Presenation in the Temple
A Classical Landscape
The Return of the Ark
Christina Queen of Sweden on Horseback
The Baptism of Christ
The Holy Family with Saint Elisabeth and the Infant Saint John the Baptist
Bacchus and Ceres with Nymphs and Satyrs
Drawings
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Christ Receiving the Children
Sébastien Bourdon (2 February 1616 – 8 May 1671) was a French painter and engraver. His chef d'œuvre is The Crucifixion of St. Peter made for the cathedral of Notre Dame.
Bourdon was born in Montpellier, France, the son of a Protestant painter on glass. He was apprenticed to a painter in Paris. In spite of his poverty he managed to get to Rome in 1636; there he studied the paintings of Nicolas Poussin, Claude Lorrain and Caravaggio among his eclectic selection of models, until he was forced to flee in 1638, to escape denunciation by the Inquisition for his Protestant faith. Bourdon's facility rendered him adept at portraiture, whether in a dashing Rubens manner[1] or in intimate, sympathetic bust-length or half-length portraits isolated against plain backgrounds that set a formula for middle-class portraiture for the rest of the century,[2] landscapes in the manner of Gaspar Dughet or capricci of ruins, mythological "history painting" like other members of Poussin's circle[3] or the genre subjects of the Dutch Bamboccianti who were working in Rome. His eclectic range of styles have given art historians exercise in tracing his adaptation of his models, while the lack of an immediately recognizable "Bourdon style" has somewhat dampened public appreciation.
In 1652 Christina of Sweden made him her first court painter. Bourdon spent most of his working career outside France, where, though he was a founding member of the Académie de peinture et de sculpture (1648), he was for long largely dismissed as a pasticheur, a situation partly rebalanced by a comprehensive exhibition in 2000 of his work at the Musée Fabre, where the collection includes a fine Lamentation painted in the last years of his life.
His success required the establishment of an extensive atelier, where, among his other pupils were Nicolas-Pierre Loir and Pierre Mosnier. He died in Paris in 1671.
Le Camp de Bohémiens, oil on wood, Musée Fabre
Notes
Queen Christina on Horseback 1653, Museo del Prado, Madrid.
Queen Christina, Nationalmuseum, Stockholm; Unknown Man, Musée Fabre, Montpellier; Corfitz Ulfeldt, Frederiksborg, Denmark
The Finding of Moses, c. 1650, National Gallery of Art, Washington; Bacchus and Ceres with Nymphs and Satyrs, Museum of Fine Arts, Budapest, etc
References
Laureati, Laura, 1983. in Giuliano Briganti, Ludovica Trezzani, and Laura Laureati. The Bamboccianti: The Painters of Everyday Life in Seventeenth Century Rome (Rome) pp. 238–45
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