Page 37 - Jacques Blanchard - Myth and Allegory

pour achiever des ouvrages que son maistre avoit commencez…”
(Félibien, as cited in J. Thuillier, Jacques Blanchard 1600-
1638, exhib. cat., Musée des Beaux-Arts de Rennes,
1998, p. 45.)
11 Apart from being a wealthy centre of soap manufacture,
Lyon was also a passing point for travellers to the south as
it was the normal route for travel to Italy through the
Rhône valley and embarking at Marseille and thereby
reaching Italy by sea, thus avoiding the difficult crossing of
the Alps.
12 “Après avoir séjourné dix-huit mois à Rome, il passa àVenise, où
touché de la beauté des tableaux qu’on y voit,particulièrement de
ceux du Titien, il résolut d’en faire toute son étude. Il demeura
deux ans à Venise, pendant lesquels un noble Vénitien le fit
travailler dans une maison qu’il avoit à la campagne. Mais
comme il se vit mal récompensé des tableaux qu’il avoit faits, il 22 Thuillier, op. cit., cat. no. 53, pp. 180-182, illus.
quitta Venise, & passa à Turin.” (Félibien, in J. Thuillier, op.
cit., p. 46.)
13 Thuillier, op. cit., no. 7, p. 90-92, illus. As Thuillier notes,
this is actually a copy after a lost original.
14 Charity, signed and dated: J. Blanchard 1637, oil on canvas,
106.8 x 83.8 cm, Courtauld Institute of Art Gallery,
London, Lee of Fareham,Arthur Hamilton (1stViscount);
bequest; 1947, P.1947.LF.31.
15 Thuillier, op. cit., pp.41-52.
16 Thuillier, op. cit., cat. no. 17, pp. 110-111, illus.
17 Thuillier, op. cit., cat. no. 42, pp. 158-159, illus.
18 Thuillier, op. cit., cat. no. 32, pp. 140-141, illus.
19 Angelica and Medoro, possibly early 1630s, Oil on canvas;
With added strip at top 47 7/8 x 69 1/4 in. (121.6 x
175.9 cm), Metropolitan Museum of Art, NewYork, Gift
of George A. Hearn, 1906 (06.1268).
20 Richard Beresford believes the decorations for the hôtel
Le Barbier to actually date between 1633 and 1634.
21 The decorations are recorded by Fòlibien, ed.cit, p.180,
by Brice (1687) and Perrault (1700, p.94). In the second
edition of the Abrégé (1762, p.53) it states that the gallery
had been altered into two rooms – a salon and a room –
both with boiseries and that the majority of the paintings
had been removed. However, Félibien mentions that 21
works remained among the carpentry decorations and
then goes on to list twenty-three works.
23 Thuillier, op. cit., cat. no. 60, pp. 196-199, illus.
24 Thuillier, op. cit., cat. no. 61, pp. 200-203, illus.
25 This connection between Le Vau and Bullion is still a
matter of scholarly debate, though ConstanceTooth states
that it is possible that LeVau did design the specific gallery
extension that Blanchard and Vouet were commissioned
to decorate. See: C. Tooth, ‘The Early Private Houses of
Louis Le Vau’ in The Burlington Magazine, Vol. 109, No.
774 (Sep., 1967), p. 508.
26 A.-N. Dézallier d’Argenville, as referenced in J.Thuillier,
op. cit., p. 215.
27 Thuillier, op. cit., cat. no. 70, pp. 222-223, illus.
28 A. Blunt, Art and Architecture in France, 1500-1700, 5th ed,
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