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{{short description|17th and 18th-century French Baroque painter}}
{{short description|Spanish-French baroque painter (1659–1743)}}
{{Use dmy dates|date=April 2020}}
{{Use dmy dates|date=April 2020}}
{{Expand French|date=July 2023|topic=bio}}
{{Infobox artist
{{Infobox artist
| name = Hyacinthe Rigaud
| name = Hyacinthe Rigaud
| image = Autoportrait au turban (Perpignan).jpg
| image = Autoportrait au turban (Perpignan).jpg
| caption = ''Self-portrait in a turban'', 1698, [[Perpignan]], Musée Hyacinthe Rigaud.
| caption = ''Self-portrait in a turban'' (1698)
| birth_name = Jacint Rigau-Ros i Serra
| birth_name = Jacint Rigau-Ros i Serra
| birth_date = {{Birth date|1659|07|18|df=yes}}
| birth_date = {{Birth date|1659|07|18|df=yes}}
| birth_place = [[Perpignan]], France
| birth_place = [[Perpignan]], [[Spanish Empire]]
| death_date = {{Death date and age|1743|12|29|1659|07|18|df=yes}}
| death_date = {{Death date and age|1743|12|29|1659|07|18|df=yes}}
| death_place = Paris, France
| death_place = [[Paris]], [[Kingdom of France]]
| nationality = French
| nationality = French
| known_for = painting, portraiture
| known_for = painting, portraiture
Line 16: Line 17:
| notable_works = coronation portrait of Louis XIV; The Presentation in the temple; portrait of Bossuet in winter costume; portraits of Louis XIV
| notable_works = coronation portrait of Louis XIV; The Presentation in the temple; portrait of Bossuet in winter costume; portraits of Louis XIV
| patrons =
| patrons =
| awards = [[Prix de Rome]] 1682
| awards = [[Prix de Rome]] (1682)
|module={{Infobox person|child=yes
| signature = Signature Rigaud.jpg}}
{{Infobox officeholder | embed = yes
| office = Director of the {{Nowrap|[[Académie de Peinture et de Sculpture]]}}
|term_start = 1733
|term_end = 1735{{Efn|The directorship of the Académie was shared until February 1735 between Rigaud and the three other rectors: Guillaume Coustou, Claude-Guy Hallé, and Nicolas de Largillière}}
|monarch = [[Louis XV]]
|predecessor = [[Louis de Boullogne]]
|successor = [[Guillaume Coustou the Elder|Guillaume Coustou]]
}}
}}
}}


'''Jacint Rigau-Ros i Serra''' ({{IPA-ca|ʒəˈsin riˈɣaw ˈrɔz i ˈsɛrə}}; 18 July 1659 – 29 December 1743), known in French as '''Hyacinthe Rigaud''' ({{IPA-fr|jasɛ̃t ʁiɡo|pron}}), was a Catalan-French [[baroque painter]] most famous for his portraits of [[Louis XIV]] and other members of the French nobility.
'''Jacint Rigau-Ros i Serra''' ({{IPA-ca|ʒəˈsin riˈɣaw ˈrɔz i ˈsɛrə}}; 18 July 1659 – 29 December 1743), known in French as '''Hyacinthe Rigaud''' ({{IPA-fr|jasɛ̃t ʁiɡo|pron}}), was a Spanish-French [[baroque painter]] most famous for his portraits of [[Louis XIV]] and other members of the French nobility.


==Biography==
==Biography==
[[File:Rigaud autoportrait au manteau bleu.jpg|thumb|left|Hyacinthe Rigaud's [[selfportrait|self portrait]].]]
[[File:Rigaud autoportrait au manteau bleu.jpg|thumb|left|''Self-portrait with a blue coat'' (1696)]]
Rigaud was born in [[Perpignan]], then part of the [[Crown of Aragon]], a few months before [[Spain]] ceded the city to France under the [[Treaty of the Pyrenees]] (7 November 1659). His family, the ''Rigau'', were [[Catalans|Catalan]]; he was the son of a tailor, the grandson of painter-gilders from [[Roussillon]], and the elder brother of another painter ([[Gaspard Rigaud|Gaspard]]).<ref name="Catalogne Nord.com">{{cite web|author=Catalogne Nord.com |url=http://www.catalogne-nord.com/ang/artandtheartists2.htm |title=Catalan Art & The Artists – Painting |access-date=15 June 2007 |url-status=dead |archive-url=https://web.archive.org/web/20070928061556/http://www.catalogne-nord.com/ang/artandtheartists2.htm |archive-date=28 September 2007}}</ref>
⚫
Hyacinthe Rigaud was born in [[Perpignan]] ([[Pyrénées-Orientales]]), the grandson of painter-gilders from [[Roussillon]] and the elder brother of another painter ([[Gaspard Rigaud|Gaspard]]). He was trained in tailoring in his father's workshop but perfected his skills as a painter under [[Antoine Ranc]] at Montpellier from 1671 onwards, before moving to [[Lyon]] four years later. It was in these cities that he became familiar with Flemish, Dutch and Italian painting, particularly that of [[Peter Paul Rubens|Rubens]], [[Van Dyck]], [[Rembrandt]] and [[Titian]], whose works he later collected. Arriving in Paris in 1681, he won the prestigious scholarship known as the [[prix de Rome]] in 1682, but on the advice of [[Charles Le Brun]] did not make the trip to Rome which was included in the scholarship. Rigaud was received into the [[Académie royale de peinture et de sculpture]] in 1710, and he rose to the top of this institution before retiring from it in 1735.


⚫
Rigaud was baptised with his Catalan name in the old [[Cathédrale Saint-Jean-Baptiste de Perpignan]] on 20 July 1659,<ref name=Col11>{{Harvsp|Colomer|1973| p= 11}}</ref> two days after his birth at rue de la Porte-d'Assaut. His baptismal name was ''Jyacintho Rigau or Jacint Rigau i Ros''<ref name="Catalogne Nord.com"/> This is sometimes transliterated as ''Híacint Francesc Honrat Mathias Pere Martyr Andreu Joan Rigau''{{Efn|there are reportedly other names (sources vary): different last names at birth: Hyacinthe-François-Honoré-Mathias-Pierre Martyr-André Jean Rigau y Ros or François Hyacinthe Rigaud, or Hyacinthe Riguad and Hiacint Rigau, different first names at birth: Jyacintho, Francisco, Honorat, Matias, Pere, Martir, Andreu, and Joan}} After the [[County of Roussillon|Roussillon]] and the [[Cerdanya]] were ceded to France the following 7 November owing to the [[Treaty of the Pyrenees]], the Rigau remained in Roussillon, and became French subjects.
⚫
Since Rigaud's paintings captured very exact likenesses along with the subject's costumes and background details, his paintings are considered precise records of contemporary fashions.
⚫
[[File:Carte ancienne Perpignan.jpg|thumb|upright=1.4|Perpignan in 1642 ([[ADPO]] ([[:ca:Arxiu Departamental dels Pirineus Orientals|ca)]])]]


⚫
He was trained in tailoring in his father's workshop, but perfected his skills as a painter under [[Antoine Ranc]] at Montpellier from 1671 onwards, before moving to [[Lyon]] four years later. It was in these cities that he became familiar with Flemish, Dutch and Italian painting, particularly that of [[Peter Paul Rubens|Rubens]], [[Van Dyck]], [[Rembrandt]] and [[Titian]], whose works he later collected. Arriving in Paris in 1681, he won the prestigious scholarship known as the [[prix de Rome]] in 1682, but on the advice of [[Charles Le Brun]] did not make the trip to Rome which was included in the scholarship. Rigaud was received into the [[Académie royale de peinture et de sculpture]] in 1710, and he rose to the top of this institution before retiring from it in 1735.
⚫
Rigaud was born with the Catalan name Jyacintho Rigau or Jacint Rigau i Ros<ref>{{cite web|author=Catalogne Nord.com |url=http://www.catalogne-nord.com/ang/artandtheartists2.htm |title=Catalan Art & The Artists – Painting |access-date=15 June 2007 |url-status=dead |archive-url=https://web.archive.org/web/20070928061556/http://www.catalogne-nord.com/ang/artandtheartists2.htm |archive-date=28 September 2007}}</ref> This is variously translated as '''Híacint Francesc Honrat Mathias Pere Martyr Andreu Joan Rigau'''<ref>there are reportedly other names (sources vary): <br>different last names at birth: Hyacinthe-François-Honoré-Mathias-Pierre Martyr-André Jean Rigau y Ros or François Hyacinthe Rigaud, or Hyacinthe Riguad and Hiacint Rigau,<br>different first names at birth: Jyacintho, Francisco, Honorat, Matias, Pere, Martir, Andreu, and Joan <!-- ea. according to fr --></ref> – in [[Perpignan]], which became part of France by the [[Treaty of the Pyrenees]] (7 November 1659) shortly after his birth.
[[File:Hyacinthe Rigaud - Louis de France, duc de Bourgogne (1682-1712) - Google Art Project.jpg|thumbnail|[[Louis, Duke of Burgundy]] (1682–1712), grandson of King Louis XIV (1638–1715) and son of [[Louis, Grand Dauphin|Louis the Grand Dauphin]] (1661–1711).]]
[[File:Hyacinthe Rigaud - Louis de France, duc de Bourgogne (1682-1712) - Google Art Project.jpg|thumbnail|[[Louis, Duke of Burgundy]] (1682–1712), grandson of King Louis XIV (1638–1715) and son of [[Louis, Grand Dauphin|Louis the Grand Dauphin]] (1661–1711).]]


⚫
Since Rigaud's paintings captured very exact likenesses along with the subject's costumes and background details, his paintings are considered precise records of contemporary fashions.
Rigaud was baptised with his Catalan name in the old [[Cathédrale Saint-Jean-Baptiste de Perpignan|cathédrale Saint-Jean de Perpignan]] on 20 July 1659,<ref name=Col11>{{Harvsp|Claude Colomer|1973| p= 11}}</ref> two days after his birth at rue de la Porte-d'Assaut. He would not have become French had not [[County of Roussillon|Roussillon]] and the [[Cerdanya]] been annexed to France the following 7 November thanks to the [[Treaty of the Pyrenees]]. That Treaty also put an end to the wars that had taken place between France and Habsburg Spain since 1635 and married King [[Louis XIV of France]] to the [[Infante|infanta]] [[Maria Theresa of Spain]].
⚫
[[File:Carte ancienne Perpignan.jpg|thumb|upright=1.4|Perpignan in 1642 ([[ADPO]] ([[:ca:Arxiu Departamental dels Pirineus Orientals|ca)]])]]


==Family==
==Family==
Hyacinthe's father, Josep Matias Pere Ramon Rigau, was a tailor (''sastre'' in Catalan) in the parish of Saint-Jean de Perpignan, "as well as a painter",<ref name=Col11/> descended from a line of well-established artists in the Perpignanian basin who had been commissioned to decorate several tabernacles and other panels for liturgical use. Few of these have survived to the present ([[Palau-del-Vidre]], [[Perpignan]], [[Amélie-les-Bains-Palalda|Montalba-d'Amélie]], [[Joch, Pyrénées-Orientales|Joch]]...). Hyacinthe's grandfather, Jacinto ''major'',<ref group="n">died in 1631. On 25 July 1617, in the église de La Réal in Perpignan, he married Madalena Roat. She was the widow of Pera Roat and on 1 November 1634 remarried in the église Saint-Mathieu in Perpignan, to Antoni Balasco.</ref> and even more Jacinto's father, Honorat ''minor'',<ref group="n">His year of birth unknown, on 5 July 1617 in the église de La Réal in Perpignan he married Antiga Franch, widow of Antoni Franch</ref> were heads of the family and the local art world from 1570 to 1630 ; probably as much as gilders as painters,<ref>Julien Lugan, ''Peintres et doreurs en Roussillon aux XVIIe et XVIIIe siècles'', Canet, éditions Trabucaire, 2006.</ref> since in their studios were to be found "many prints and books treating on the art of painting, and other things, such as brushes and palettes for painting".<ref name=Col13>{{Harvsp|Claude Colomer|1973| p= 13}}</ref>
Hyacinthe's father, Josep Matias Pere Ramon Rigau, was a tailor (''sastre'' in Catalan) in the parish of Saint-Jean de Perpignan, "as well as a painter",<ref name=Col11/> descended from a line of well-established artists in the Perpignanian basin who had been commissioned to decorate several tabernacles and other panels for liturgical use. Few of these have survived to the present ([[Palau-del-Vidre]], [[Perpignan]], [[Amélie-les-Bains-Palalda|Montalba-d'Amélie]], [[Joch, Pyrénées-Orientales|Joch]]...). Hyacinthe's grandfather, Jacinto ''major'',{{Efn|died in 1631. On 25 July 1617, in the église de La Réal in Perpignan, he married Madalena Roat. She was the widow of Pera Roat and on 1 November 1634 remarried in the église Saint-Mathieu in Perpignan, to Antoni Balasco.}} and even more Jacinto's father, Honorat ''minor'',{{Efn|His year of birth unknown, on 5 July 1617 in the église de La Réal in Perpignan he married Antiga Franch, widow of Antoni Franch}} were heads of the family and the local art world from 1570 to 1630; probably as much as gilders as painters,<ref>Julien Lugan, ''Peintres et doreurs en Roussillon aux XVIIe et XVIIIe siècles'', Canet, éditions Trabucaire, 2006.</ref> since in their studios were to be found "many prints and books treating on the art of painting, and other things, such as brushes and palettes for painting".<ref name=Col13>{{Harvsp|Colomer|1973| p= 13}}</ref>


Working for the collège Saint-Éloi in his city since 1560, and acting as representative of its guild of painters and gilders, on 22 November 1630 Jacinto ''major'' and other gilders and colleagues<ref group="n">Joan Antoni Marti, Guillem Andreu, Thomas Blat et Jaume Fuster</ref> participated in the development of the statutes and minutes of the city's collège Saint-Luc
Working for the collège Saint-Éloi in his city since 1560, and acting as representative of its guild of painters and gilders, on 22 November 1630 Jacinto ''major'' and other gilders and colleagues{{Efn|Joan Antoni Marti, Guillem Andreu, Thomas Blat et Jaume Fuster}} participated in the development of the statutes and minutes of the city's collège Saint-Luc
.<ref>Lugand, ''op. cit''. p. 248.</ref> Honorat ''minor'' is generally identified as the painter of ''The Canonisation of Saint Hyacinthe'', formerly in Perpignan's Dominican convent and now at Joch,<ref>After Marcel Durliat. Cited by Olivier Poisson, "Les Rigau (d)", in ''Terres Catalanes'', n°10, March 1996, p. 54–55.</ref> the tabernacle of the church of [[Église Saint-Sébastien de Palau-del-Vidre|Palau-del-Vidre]] (28 March 1609)<ref group="n">[http://www.palau-del-vidre.com/vierge_tabernacle.htm {{Webarchive|url=https://web.archive.org/web/20120218082744/http://www.palau-del-vidre.com/vierge_tabernacle.htm |date=18 February 2012 }} 25 ducats were paid to the painter for painting the tabernacle "inside and outside [with&#93; ... good and living and fine colours"].</ref> and the retable at Montalba near [[Amélie-les-Bains-Palalda|Amélie-les-Bains]]. The father of Honorat ''minor'' is generally identified as the painter of the retable of [[Ferreolus and Ferrutio|Saint-Ferréol]] (1623) in the église Saint-Jacques de Perpignan and formerly in the couvent des Minimes, whilst Honorat ''major'' is usually identified as the painter of the paintings of the retable of the église Saint-Jean-l'Évangéliste at [[Peyrestortes]].<ref>O. Poisson, ''op. cit.'', p. 54.</ref>
.<ref>Lugand, ''op. cit''. p. 248.</ref> Honorat ''minor'' is generally identified as the painter of ''The Canonisation of Saint Hyacinthe'', formerly in Perpignan's Dominican convent and now at Joch,<ref>After Marcel Durliat. Cited by Olivier Poisson, "Les Rigau (d)", in ''Terres Catalanes'', n°10, March 1996, p. 54–55.</ref> the tabernacle of the church of [[Église Saint-Sébastien de Palau-del-Vidre|Palau-del-Vidre]] (28 March 1609) and the retable at Montalba near [[Amélie-les-Bains-Palalda|Amélie-les-Bains]]. The father of Honorat ''minor'' is generally identified as the painter of the retable of [[Ferreolus and Ferrutio|Saint-Ferréol]] (1623) in the église Saint-Jacques de Perpignan and formerly in the couvent des Minimes, whilst Honorat ''major'' is usually identified as the painter of the paintings of the retable of the église Saint-Jean-l'Évangéliste at [[Peyrestortes]].<ref>O. Poisson, ''op. cit.'', p. 54.</ref>


On 13 March 1647 Hyacinthe's father Matias ''Rigau'', married Thérèse Faget (1634–1655), daughter of a carpenter.<ref group="n">Joan Antoni Faget had already died, in 1647. The marriage contract was witnessed before Honoré Sunyer in Perpignan.</ref> Widowed shortly after, he decided to speedily remarry, to Maria Serra, daughter of a Perpignan textile merchant (''pentiner'' in Catalan), on 20 December 1655.<ref>{{Harvsp|Claude Colomer|1973| p= 12}}</ref> In 1665, he acquired a house "en lo carrer de las casas cremades" (now rue de l'Incendie, near the cathedral) and received the income from a parcel of vineyards in the Bompas territory.<ref name=Col13/> By his second marriage, he also acquired a house on place de l'Huile, but he soon sold it.<ref name=Col13/>
On 13 March 1647, Hyacinthe's father Matias ''Rigau'', married Thérèse Faget (1634–1655), daughter of a carpenter.{{Efn|Joan Antoni Faget had already died, in 1647. The marriage contract was witnessed before Honoré Sunyer in Perpignan.}} Widowed shortly after, he decided to speedily remarry, to Maria Serra, daughter of a Perpignan textile merchant (''pentiner'' in Catalan), on 20 December 1655.<ref>{{Harvsp|Colomer|1973| p= 12}}</ref> In 1665, he acquired a house "en lo carrer de las casas cremades" (now rue de l'Incendie, near the cathedral) and received the income from a parcel of vineyards in the Bompas territory.<ref name=Col13/> By his second marriage, he also acquired a house on place de l'Huile, but he soon sold it.<ref name=Col13/>


<!---
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Afin de justifier les formidables dons du futur portraitiste de [[Louis XIV]], on a souvent supposé que le jeune homme avait été mis très tôt en apprentissage chez l’une des figures emblématiques de la peinture catalane de cette époque, Antoine I Guerra (1634–1705).<ref>"Guerra, la peinture baroque en pays catalan aux {{XVIIe}} et {{XVIIIe}} siècles". Catalogue de l’exposition Guerra, Perpignan, palais des rois de Majorque, 2006.</ref> La qualité toute relative des œuvres de cet artiste ne permet pas d’y trouver les clés d’un apprentissage, même si son fils, Antoine Guerra "le Jeune" (1666–1711), reprendra à son compte les formules picturales fixées plus tard par Rigaud, à l'instar de son ''Portrait du colonel Albert Manuel'' récemment acquis par le [[musée Hyacinthe Rigaud]] de Perpignan. L’inventaire après décès du jeune Guerra<ref>Lugan, ''op. cit.''</ref> atteste cependant des liens existant entre ces familles de peintres, à l'exemple du "portret du sieur Rang de Montpellier en ovalle" (probablement [[Antoine Ranc]] car Jean était déjà établi à Paris) et "deux portrets sur papier l’un du sieur Rigaud peintre et l’autre de damoiselle Rigaud avec leurs quadres dorés". La question se pose alors de savoir s'il s'agit de Hyacinthe ou de Gaspard, et la "demoiselle Rigaud" est difficilement identifiable.
Afin de justifier les formidables dons du futur portraitiste de [[Louis XIV]], on a souvent supposé que le jeune homme avait été mis très tôt en apprentissage chez l’une des figures emblématiques de la peinture catalane de cette époque, Antoine I Guerra (1634–1705).<ref>"Guerra, la peinture baroque en pays catalan aux {{XVIIe}} et {{XVIIIe}} siècles". Catalogue de l’exposition Guerra, Perpignan, palais des rois de Majorque, 2006.</ref> La qualité toute relative des œuvres de cet artiste ne permet pas d’y trouver les clés d’un apprentissage, même si son fils, Antoine Guerra "le Jeune" (1666–1711), reprendra à son compte les formules picturales fixées plus tard par Rigaud, à l'instar de son ''Portrait du colonel Albert Manuel'' récemment acquis par le [[musée Hyacinthe Rigaud]] de Perpignan. L’inventaire après décès du jeune Guerra<ref>Lugan, ''op. cit.''</ref> atteste cependant des liens existant entre ces familles de peintres, à l'exemple du "portret du sieur Rang de Montpellier en ovalle" (probablement [[Antoine Ranc]] car Jean était déjà établi à Paris) et "deux portrets sur papier l’un du sieur Rigaud peintre et l’autre de damoiselle Rigaud avec leurs quadres dorés". La question se pose alors de savoir s'il s'agit de Hyacinthe ou de Gaspard, et la "demoiselle Rigaud" est difficilement identifiable.


À la mort de son père, en 1669, "Jyacintho Rigau" (dont le nom francisé en Hyacinthe Rigaud ne tarde pas à apparaître) est confié par sa mère aux bons soins du doreur carcassonnais Pierre Chypolt. Les archives départementales des Pyrénées-Orientales conservent encore le contrat d’apprentissage passé entre ce dernier et Maria Serra.<ref>[[Archives départementales]] des Pyrénées-Orientales, 3E1/6162, f°71–72. voir Lugan, ''op. cit.''</ref> Ce contrat explique la grande connaissance du métier de doreur, dont le futur Rigaud témoignera à plusieurs reprises, notamment dans sa correspondance avec le marquis aixois [[Gaspard de Gueidan]], au cours des années 1720–30.<ref>H. Gibert, "Dix portraits et dix neuf lettres de Rigaud et de Largillierre", dans ''Bulletin archéologique du Comité des travaux historiques et scientifiques'', éd. Leroux, Paris, 1890, p. 276–317 ; [[Ariane James-Sarazin]], "Hyacinthe Rigaud et ces messieurs d’Aix-en-Provence", dans ''Bibliothèque de l’École des Chartes'', t. 161, 2003/1.</ref>
À la mort de son père, en 1669, "Jyacintho Rigau" (dont le nom francisé en Hyacinthe Rigaud ne tarde pas à apparaître) est confié par sa mère aux bons soins du doreur carcassonnais Pierre Chypolt. Les archives départementales des Pyrénées-Orientales conservent encore le contrat d’apprentissage passé entre ce dernier et Maria Serra.<ref>[[Archives départementales]] des Pyrénées-Orientales, 3E1/6162, f°71–72. voir Lugan, ''op. cit.''</ref> Ce contrat explique la grande connaissance du métier de doreur, dont le futur Rigaud témoignera à plusieurs reprises, notamment dans sa correspondance avec le marquis aixois [[Gaspard de Gueidan]], au cours des années 1720–30.<ref>H. Gibert, "Dix portraits et dix neuf lettres de Rigaud et de Largillierre", dans ''Bulletin archéologique du Comité des travaux historiques et scientifiques'', éd. Leroux, Paris, 1890, p. 276–317; [[Ariane James-Sarazin]], "Hyacinthe Rigaud et ces messieurs d’Aix-en-Provence", dans ''Bibliothèque de l’École des Chartes'', t. 161, 2003/1.</ref>


Si l’anecdote selon laquelle Rigaud aurait été le protégé d’un hypothétique comte de Ros dont il aurait prit la particule "Rigaud y Ros" est à écarter,<ref>Cette information fut véhiculée par les [http://www.mediterranees.net/biographies/capeille/rigaud.html Biographies roussillonnaises de l'abbé Capeille] et reprise par Renata Laura Portet dans son roman "Rigau & Rigaud", 2005, Balzac (Baixas), {{ISBN|2913907296|date=March 2012}}</ref> l’''Abrégé de la vie du peintre'', rédigé en 1716 par l’académicien honoraire Henry Van Hulst,<ref>[[s:Abrégé de la Vie de Hyacinthe Rigaud|Abrégé de la Vie de Hyacinthe Rigaud, 1716 sur Wikisource]]</ref> est une référence plus fiable. Cette ''Vie'' fut composée afin de contenter le désir du grand duc de Toscane [[Cosme III de Médicis]] qui souhaitait obtenir de chaque peintre, dont il possédait l'[[autoportrait]], une [[biographie]] circonstanciée.
Si l’anecdote selon laquelle Rigaud aurait été le protégé d’un hypothétique comte de Ros dont il aurait prit la particule "Rigaud y Ros" est à écarter,<ref>Cette information fut véhiculée par les [http://www.mediterranees.net/biographies/capeille/rigaud.html Biographies roussillonnaises de l'abbé Capeille] et reprise par Renata Laura Portet dans son roman "Rigau & Rigaud", 2005, Balzac (Baixas), {{ISBN|2913907296|date=March 2012}}</ref> l’''Abrégé de la vie du peintre'', rédigé en 1716 par l’académicien honoraire Henry Van Hulst,<ref>[[s:Abrégé de la Vie de Hyacinthe Rigaud|Abrégé de la Vie de Hyacinthe Rigaud, 1716 sur Wikisource]]</ref> est une référence plus fiable. Cette ''Vie'' fut composée afin de contenter le désir du grand duc de Toscane [[Cosme III de Médicis]] qui souhaitait obtenir de chaque peintre, dont il possédait l'[[autoportrait]], une [[biographie]] circonstanciée.
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===Journey to Lyon===
===Journey to Lyon===
[[File:Gueidan.jpg|thumb|"[[Gaspard de Gueidan]] playing the [[musette de cour|musette]]" (''Gaspard de Gueidan en joueur de musette'', 1738), [[Musée Granet]], [[Aix-en-Provence]].]]
[[File:Gueidan.jpg|thumb|"[[Gaspard de Gueidan]] playing the [[musette de cour|musette]]" (''Gaspard de Gueidan en joueur de musette'', 1738), [[Musée Granet]], [[Aix-en-Provence]].]]
Unfortunately, little is known about Rigaud's activities in [[Lyon, France|Lyon]], due to the lack of surviving documents. However, as per tradition, artists from [[Montpellier, France|Montpellier]] had strong ties with this city, as had, for example, Samuel Boissière who was trained in there, in Lyon.<ref>{{in lang|fr}} Henri Marcel Kühnholtz, ''Samuel Boissière, peintre de Montpellier, au XVIIe siècle'', Montpellier, Castel, 1845.</ref> The identity of Rigaud's future depicted models shows that he worked for the city's [[cloth merchant]]s, whose flourishing trade had long since given the city its profitable income.<ref name=Per41>{{in lang|fr}} {{Harvsp|Stéphan Perreau|2004| p= 41|id=Perreau2004}}</ref>
Little is known about Rigaud's activities in [[Lyon, France|Lyon]], due to the lack of surviving documents. However, as per tradition, artists from [[Montpellier, France|Montpellier]] had strong ties with this city, as had, for example, Samuel Boissière who was trained in there, in Lyon.<ref>{{in lang|fr}} Henri Marcel Kühnholtz, ''Samuel Boissière, peintre de Montpellier, au XVIIe siècle'', Montpellier, Castel, 1845.</ref> The identity of Rigaud's future depicted models shows that he worked for the city's [[cloth merchant]]s, whose flourishing trade had long since given the city its profitable income.<ref name=Per41>{{in lang|fr}}{{Harvsp|Perreau|2004|p=41}}</ref>


Even if they had only been registered from [[1681 in art|1681]] onwards, the date when he moved to [[Paris, France|Paris]], his "youthful" portraits were probably [[Wiktionary:predate|pre-dated]], like those of Antoine Domergue, the king's councillor and provincial governor of Lyon, in [[1686 in art|1686]],<ref name=Rom11>{{in lang|fr}} {{Harvsp|Joseph Roman|1919| p= 11|id=Roman1919}}</ref> and "Mr Sarazin de Lion", of a famous dynasty of bankers of [[Switzerland|Swiss]] origins, in [[1685 in art|1685]].<ref name=Rom9>{{in lang|fr}} {{Harvsp|Joseph Roman|1919| p= 9|id=Roman1919}}</ref> Rigaud's portrait of Jean de Brunenc, painted in [[1687 in art|1687]], a silk merchant, banker and consul of Lyon, assembles all the ingredients for which the painter was later successful.<ref name=Rom13>{{in lang|fr}} {{Harvsp|Joseph Roman|1919| p= 13|id=Roman1919}}</ref>
Even if they had only been registered from 1681 onwards, the date when he moved to [[Paris, France|Paris]], his "youthful" portraits were probably [[Wiktionary:predate|pre-dated]], like those of Antoine Domergue, the king's councillor and provincial governor of Lyon, in 1686,<ref name=Rom11>{{in lang|fr}} {{Harvsp|Roman|1919|p=11}}</ref> and "Mr Sarazin de Lion", of a famous dynasty of bankers of [[Switzerland|Swiss]] origins, in 1685.<ref name=Rom9>{{in lang|fr}} {{Harvsp|Roman|1919|p=9}}</ref> Rigaud's portrait of Jean de Brunenc, painted in 1687, a silk merchant, banker and consul of Lyon, assembles all the ingredients for which the painter was later successful.<ref name=Rom13>{{in lang|fr}} {{Harvsp|Roman|1919|p=13}}</ref>


In her thesis on the [[engraving|engravers]] from the [[Drevet family]],<ref>{{in lang|fr}} [http://demeter.univ-lyon2.fr/sdx/theses/notice.xsp?id=lyon2.2005.clavel_g-principal&id_doc=lyon2.2005.clavel_g&isid=lyon2.2005.clavel_g&base=documents&dn=1 Gilberte Levallois-Clavel, ''Pierre Drevet (1663–1738), graveur du roi et ses élèves Pierre-Imbert Drevet (1697–1739), Claude Drevet (1697–1781)'', Lyon, 2005, édition numérique]{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Gilberte Levallois-Clavel revealed certain aspects of the private relations between Rigaud and Pierre Drevet; their friendship came about at the beginning of the 1700s, after the painter produced a portrait of the engraver, in which he depicted himself as well.<ref>{{in lang|fr}} Catalogue de l'exposition ''Visages du Grand Siècle, le portrait français sous le règne de Louis XIV'', Nantes-Toulouse, 1997, 1998, p. 42-43</ref>
In her thesis on the [[engraving|engravers]] from the [[Drevet family]],<ref>{{in lang|fr}} [http://demeter.univ-lyon2.fr/sdx/theses/notice.xsp?id=lyon2.2005.clavel_g-principal&id_doc=lyon2.2005.clavel_g&isid=lyon2.2005.clavel_g&base=documents&dn=1 Gilberte Levallois-Clavel, ''Pierre Drevet (1663–1738), graveur du roi et ses élèves Pierre-Imbert Drevet (1697–1739), Claude Drevet (1697–1781)'', Lyon, 2005, édition numérique]{{dead link|date=December 2017 |bot=InternetArchiveBot |fix-attempted=yes }}</ref> Gilberte Levallois-Clavel revealed certain aspects of the private relations between Rigaud and Pierre Drevet; their friendship came about at the beginning of the 1700s, after the painter produced a portrait of the engraver, in which he depicted himself as well.<ref>{{in lang|fr}} Catalogue de l'exposition ''Visages du Grand Siècle, le portrait français sous le règne de Louis XIV'', Nantes-Toulouse, 1997, 1998, p. 42-43</ref>
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In reality, Rigaud painted a second painting, bearing the three stances presented to Coysevox: an oval painting kept in a private collection, copied by [[Théodore Géricault|Géricault]], in [[Dijon, France|Dijon]], and the subject of one of Drevet's engravings. He also applied sketches of his sister Claire, accompanied by her husband and their first daughter, to the canvas.
In reality, Rigaud painted a second painting, bearing the three stances presented to Coysevox: an oval painting kept in a private collection, copied by [[Théodore Géricault|Géricault]], in [[Dijon, France|Dijon]], and the subject of one of Drevet's engravings. He also applied sketches of his sister Claire, accompanied by her husband and their first daughter, to the canvas.


The year [[1695 in art|1695]] also saw the production of two versions of ''Christ expiant sur la Croix'', with a distinct [[Flemish Baroque painting|Flemish]] influence, proof of Rigaud's rare incursion into the domain of historical depictions or the "great genre". He bequeathed his mother the first version which would then, at her death, be left to the Grands Augustins convent in [[Perpignan]], and gave the second, in [[1722 in art|1722]], to the [[Dominican Order|Dominican]] convent of his city of birth.
The year 1695 also saw the production of two versions of ''Christ expiant sur la Croix'', with a distinct [[Flemish Baroque painting|Flemish]] influence, proof of Rigaud's rare incursion into the domain of historical depictions or the "great genre". He bequeathed his mother the first version which would then, at her death, be left to the Grands Augustins convent in [[Perpignan]], and gave the second, in 1722, to the [[Dominican Order|Dominican]] convent of his city of birth.


In spring [[1696 in art|1696]], Hyacinthe Rigaud returned to Paris, where he painted one of his most important portraits of the year. This was in fact solicited by the [[Louis de Rouvroy, duc de Saint-Simon|duke of Saint-Simon]], to depict [[Armand Jean le Bouthillier de Rancé]], an abbot, using a skillful subterfuge that remains notable in the history of painting.
In spring 1696, Hyacinthe Rigaud returned to Paris, where he painted one of his most important portraits of the year. This was in fact solicited by the [[Louis de Rouvroy, duc de Saint-Simon|duke of Saint-Simon]], to depict [[Armand Jean le Bouthillier de Rancé]], an abbot, using a skillful subterfuge that remains notable in the history of painting.


⚫
In 1709, he was made a noble by his hometown of Perpignan. In 1727, he was made a knight of the [[Order of Saint Michael]].

⚫
In 1709 he was made a noble by his hometown of Perpignan. In 1727 he was made a knight of the [[Order of Saint Michael]].
Following the death of ''directeur'' [[Louis de Boullogne]] on 28 November 1733, Rigaud proposed that the four rectors of the Académie, [[Nicolas de Largillière]], [[Claude-Guy Hallé]], [[Guillaume Coustou the Elder|Guillaume Coustou]], and himself, rotate the post.<ref>{{Cite book |url=https://archive.org/details/procsverbauxde05acaduoft/page/126/mode/2up |title=Procès-Verbaux de l'Académie Royale de peinture et de sculpture, 1648-1793 |publisher=J. Baur |year=1883 |editor-last=de Montaiglon |editor-first=Anatole |editor-link=Anatole de Montaiglon |volume=V |location=Paris |pages=127–128 |language=French}}</ref><ref>{{Cite book |last=Michel |first=Christian |title=The Académie Royale de Peinture Et de Sculpture: The Birth of the French School, 1648-1793 |publisher=Getty Research Institute |year=2018 |pages=352}}</ref> This oligarchy would persist until the election of Coustou as sole director on 5 February 1735.<ref>{{Cite book |last=Williams |first=Hannah |title=Académie Royale: A History in Portraits |publisher=Routledge |year=2016 |isbn=978-1-4094-5742-8 |pages=294}}</ref>
⚫
Rigaud died in Paris in 1743 at the age of 84.

⚫
Rigaud died in Paris on 29 December 1743 at the age of 84.

<gallery widths="200" heights="180" caption="House located rue Louis-le-Grand (Paris 2) where the artist died">
P1050003 Paris II rue Louis-le-grand Hyacinthe Rigaud rwk.JPG|House.
P1050004 Hyacinthe Rigaud plaque rue Louis-le-grand rwk.JPG|Plaque.
</gallery>


==Clientele==
==Clientele==
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Rigaud is inseparable from his best-known work, a 1701 painting of Louis XIV in his coronation costume which today hangs in the [[Louvre]] in Paris,<ref>Paris, [[musée du Louvre]], Inv.7492)</ref> as well as the second copy also requested by Louis XIV that now hangs at the [[Palace of Versailles]].<ref>[http://www.chateauversailles.fr/en/un_chef_d_oeuvre_35.php Découverte du Château de Versailles: offre culturelle du Château de Versailles<!-- Bot generated title -->] {{webarchive|url=https://web.archive.org/web/20060826054100/http://www.chateauversailles.fr/en/un_chef_d_oeuvre_35.php |date=26 August 2006 }}</ref>
Rigaud is inseparable from his best-known work, a 1701 painting of Louis XIV in his coronation costume which today hangs in the [[Louvre]] in Paris,<ref>Paris, [[musée du Louvre]], Inv.7492)</ref> as well as the second copy also requested by Louis XIV that now hangs at the [[Palace of Versailles]].<ref>[http://www.chateauversailles.fr/en/un_chef_d_oeuvre_35.php Découverte du Château de Versailles: offre culturelle du Château de Versailles<!-- Bot generated title -->] {{webarchive|url=https://web.archive.org/web/20060826054100/http://www.chateauversailles.fr/en/un_chef_d_oeuvre_35.php |date=26 August 2006 }}</ref>
He is renowned for his portrait paintings of [[Louis XIV]], the royalty and nobility of Europe, and members of their courts and considered one of the most notable French portraitists of the classical period. For [[Jacques Thuillier]], professor at the Collège de France: {{cquote|Hyacinthe Rigaud was one of those French painters who knew the highest celebrity under the Ancien Régime. This admiration was deserved both for the surprising abundance of his work and for its constant perfection.<ref>{{in lang|fr}} [http://www.archivesdefrance.culture.gouv.fr/action-culturelle/celebrations-nationales/2009/arts/hyacinthe-rigaud/ Jacques Thuillier, professor at the Collège de France, member of the Haut comité des célébrations nationales]</ref>}}
He is renowned for his portrait paintings of [[Louis XIV]], the royalty and nobility of Europe, and members of their courts and considered one of the most notable French portraitists of the classical period. For [[Jacques Thuillier]], professor at the Collège de France: {{cquote|Hyacinthe Rigaud was one of those French painters who knew the highest celebrity under the Ancien Régime. This admiration was deserved both for the surprising abundance of his work and for its constant perfection.<ref>{{in lang|fr}} [http://www.archivesdefrance.culture.gouv.fr/action-culturelle/celebrations-nationales/2009/arts/hyacinthe-rigaud/ Jacques Thuillier, professor at the Collège de France, member of the Haut comité des célébrations nationales]</ref>}}
According to the French art historian Louis Hourticq, {{cquote|On his death, Rigaud left behind a gallery of major figures with whom our imagination now populates the [[galerie des Glaces]] ; Rigaud was necessary to the 'gloire' of Louis XIV and participated in this shining of a reign whose majesty he fixed [in paint].<ref>{{in lang|fr}} Louis Hourticq, De Poussin à Watteau, Paris, 1921</ref>}}
According to the French art historian [[Louis Hourticq]], {{cquote|On his death, Rigaud left behind a gallery of major figures with whom our imagination now populates the [[galerie des Glaces]]; Rigaud was necessary to the 'gloire' of Louis XIV and participated in this shining of a reign whose majesty he fixed [in paint].<ref>{{in lang|fr}} Louis Hourticq, De Poussin à Watteau, Paris, 1921</ref>}}
True "photographs",<ref name=Dez318>Antoine-Joseph Dezallier d'Argenville 1745, p. 318</ref> faces that [[Denis Diderot|Diderot]] called "letters of recommendation written in the common language of all men",<ref>Jacques Proust, "Diderot et la Physiognomonie", ''CAIEF'', 13, 1961, p.317–319.</ref> Rigaud's works today populate the world's major museums.
True "photographs",<ref name=Dez318>Antoine-Joseph Dezallier d'Argenville 1745, p. 318</ref> faces that [[Denis Diderot|Diderot]] called "letters of recommendation written in the common language of all men",<ref>Jacques Proust, "Diderot et la Physiognomonie", ''CAIEF'', 13, 1961, p.317–319.</ref> Rigaud's works today populate the world's major museums.


==Legacy==
==Legacy==
[[File:Jean-Baptiste Monginot.jpg|thumb|left|A portrait of [[Jean-Baptiste Monginot]]]]
[[File:Jean-Baptiste Monginot.jpg|thumb|left|Portrait of Jean-Baptiste de Montginot (1688)]]
Rigaud's works today populate the world's major museums. The exact number of paintings he produced remains in dispute, since he left a highly detailed catalogue but also more than a thousand different models which specialists agree he used.<ref>{{in lang|fr}} [http://www.mediterranees.net/art_roussillon/rigaud/clientele1.html Hyacinthe Rigaud – Portrait d'une clientèle]</ref> To these may be added the large number of copies in Rigaud's [[s:fr:Le Livre de Raison du peintre Hyacinthe Rigaud|book of accounts]], without even mentioning the hundreds of other paintings rediscovered since the accounts' publication in 1919. Rigaud painted many important figures in the world of art such as the sculptors [[Martin Desjardins|Desjardins]] (to whom, as an old friend, he delivered three successive portraits), [[François Girardon|Girardon]] and [[Antoine Coysevox|Coysevox]]; the painters [[Joseph Parrocel]], [[Charles de La Fosse|La Fosse]] and [[Pierre Mignard|Mignard]]; the architects [[Robert de Cotte|De Cotte]], [[Jules Hardouin Mansart|Hardouin-Mansart]] and [[Jacques Gabriel|Gabriel]]. He also painted portraits of poets such as [[Jean de La Fontaine|La Fontaine]] or [[Nicolas Boileau-Despréaux|Boileau]], as well as religious figures such as the [[André-Hercule de Fleury|cardinal de Fleury]] and [[Jacques-Bénigne Bossuet|Bossuet]]; many influential archbishops and bishops paid large sums of money for a portrait.
Rigaud's works today populate the world's major museums. The exact number of paintings he produced remains in dispute, since he left a highly detailed catalogue but also more than a thousand different models which specialists agree he used.<ref>{{in lang|fr}} [http://www.mediterranees.net/art_roussillon/rigaud/clientele1.html Hyacinthe Rigaud – Portrait d'une clientèle]</ref> To these may be added the large number of copies in Rigaud's [[s:fr:Le Livre de Raison du peintre Hyacinthe Rigaud|book of accounts]], without even mentioning the hundreds of other paintings rediscovered since the accounts' publication in 1919. Rigaud painted many important figures in the world of art such as the sculptors [[Martin Desjardins|Desjardins]] (to whom, as an old friend, he delivered three successive portraits), [[François Girardon|Girardon]] and [[Antoine Coysevox|Coysevox]]; the painters [[Joseph Parrocel]], [[Charles de La Fosse|La Fosse]] and [[Pierre Mignard|Mignard]]; the architects [[Robert de Cotte|De Cotte]], [[Jules Hardouin Mansart|Hardouin-Mansart]] and [[Jacques Gabriel|Gabriel]]. He also painted portraits of poets such as [[Jean de La Fontaine|La Fontaine]] or [[Nicolas Boileau-Despréaux|Boileau]], as well as religious figures such as the [[André-Hercule de Fleury|cardinal de Fleury]] and [[Jacques-Bénigne Bossuet|Bossuet]]; many influential archbishops and bishops paid large sums of money for a portrait.


The {{Interlanguage link|Musée Hyacinthe-Rigaud|lt=Musée d'art Hyacinthe Rigaud|fr|}}, a museum dedicated to Rigaud's artwork, opened in Perpignan in 1833.<ref>{{Cite web |title=L'histoire du musée |url=https://www.musee-rigaud.fr/musee/le-musee-dhier/histoire-du-musee |access-date=26 July 2023 |website=musee-rigaud.fr |language=French}}</ref> The museum has since expanded to include works by [[Aristide Maillol]], [[Raoul Dufy]], and other artists.<ref>{{Cite web |title=Les collections |url=https://www.musee-rigaud.fr/musee/le-musee-daujourdhui/les-collections |access-date=26 July 2023 |website=musee-rigaud.fr |language=French}}</ref> It received over 65,000 visitors in 2017 following its renovation and a temporary exhibition dedicated to [[Pablo Picasso|Picasso]].<ref>{{Cite news |last=Torres |first=Maite |date=3 November 2017 |title=Musée Rigaud – 65.000 visiteurs depuis l'ouverture – «Une très belle surprise» |language=French |work=Made In Perpignan |url=https://madeinperpignan.com/musee-rigaud-65-000-visiteurs-depuis-louverture-une-tres-belle-surprise/#:~:text=tr%C3%A8s%20belle%20surprise%20%C2%BB-,Mus%C3%A9e%20Rigaud%20%E2%80%93%2065.000%20visiteurs%20depuis%20l'ouverture,%E2%80%93%20%C2%AB%20Une%20tr%C3%A8s%20belle%20surprise%20%C2%BB |access-date=26 July 2023}}</ref>
In 1820, the [[Musée des beaux-arts Hyacinthe Rigaud]] in [[Perpignan]], France, was dedicated to him. It is still open to the public and shows some of his work.<ref>{{Cite web |url=http://www.mairie-perpignan.fr/index.php?np=1&cd=1402#rigaud |title=Musée des Beaux-Arts Hyacinthe Rigaud |access-date=20 January 2009}}</ref>


==Selected works==
==Selected works==
[[File:Sainte Madeleine par Rigaud.jpg|thumb|Painting depicting [[Mary Magdalen]]e in prayer.]]
[[File:Sainte Madeleine par Rigaud.jpg|thumb|Painting depicting [[Mary Magdalen]]e in prayer.]]
[[File:La famille Lafitte (détail).jpg|thumb|An artwork displaying the Lafitte family<ref>Jean Lafitte ''dit'' Lafita (died 1737), [[Bailiff (France)|bailiff]] of [[Perpignan]]; his wife Claire-Marie-Madeleine-Géronime, the artist's sister; and their eldest daughter, Marie.</ref> ]]
[[File:La famille Lafitte (détail).jpg|thumb|An artwork displaying the Lafitte family{{Efn|Jean Lafitte dit Lafita (died 1737), bailiff of Perpignan; his wife Claire-Marie-Madeleine-Géronime, the artist's sister; and their eldest daughter, Marie.}} ]]
*Portrait of Graf [[Philipp Ludwig Wenzel von Sinzendorf]], 1712, [[oil on canvas]], {{convert|166|x|132|cm|abbr=on}}, [[Kunsthistorisches Museum]], Vienna
*Portrait of Graf [[Philipp Ludwig Wenzel von Sinzendorf]], 1712, [[oil on canvas]], {{convert|166|x|132|cm|abbr=on}}, [[Kunsthistorisches Museum]], Vienna
*Portrait of [[Philippe de Dangeau|Philippe de Courcillon]], Marquis de Dangeau, 1702, oil on canvas, {{convert|162|x|150|cm|abbr=on}}, [[Palace of Versailles|Musée national du château de Versailles et des Trianons]], [[Versailles, Yvelines|Versailles]]
*Portrait of [[Philippe de Dangeau|Philippe de Courcillon]], Marquis de Dangeau, 1702, oil on canvas, {{convert|162|x|150|cm|abbr=on}}, [[Palace of Versailles|Musée national du château de Versailles et des Trianons]], [[Versailles, Yvelines|Versailles]]
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{{-}}
{{-}}
<gallery widths="200px" heights="200px" perrow="5">
<gallery widths="200px" heights="200px" perrow="5">
File:1713 - Robert de Cotte (Louvre).jpg|Robert de Cotte (1656-1735)
File:1713 - Robert de Cotte (Louvre).jpg|[[Robert de Cotte]] (1656-1735)
File:1689 portrait of a young Philippe d'Orléans, Duke of Chartres, Regent of France by Hyacinthe Rigaud.jpg|Portrait of [[Philippe II, Duke of Orléans|Philippe d'Orléans, Duke of Chartres]] (1674–1723)
File:1689 portrait of a young Philippe d'Orléans, Duke of Chartres, Regent of France by Hyacinthe Rigaud.jpg|Portrait of [[Philippe II, Duke of Orléans|Philippe d'Orléans, Duke of Chartres]] (1674–1723)
File:Hyacinthe Rigaud - Louis de France, Dauphin (1661-1711), dit le Grand Dauphin - Google Art Project.jpg|Louis of France, Dauphin (1661-1711), "''Le Grand Dauphin''"
File:Hyacinthe Rigaud - Louis de France, Dauphin (1661-1711), dit le Grand Dauphin - Google Art Project.jpg|[[Louis, Grand Dauphin| Louis of France, Dauphin]] (1661-1711), "''Le Grand Dauphin''"
File:Hyacinthe Rigaud - Gio. Francesco II Brignole-Sale - Google Art Project.jpg|Gian Francesco II Brignole, [[Doge of Genoa]]
File:Hyacinthe Rigaud - Gio. Francesco II Brignole-Sale - Google Art Project.jpg|[[Giovanni Francesco II Brignole Sale]], [[Doge of Genoa]]
File:Le Brun par Rigaud.jpg|Portrait of Charles Le Brun
File:Le Brun par Rigaud.jpg|Portrait of [[Charles Le Brun]]
File:Portræt af kong Frederik IV som prins.jpg|[[Frederick IV of Denmark]] as Crown Prince
File:Portræt af kong Frederik IV som prins.jpg|[[Frederick IV of Denmark]] as Crown Prince
File:Hyacinthe Rigaud (d'après) Louis XV.jpg|Portrait of [[Louis XV]], (1727–1729), Versailles
File:Hyacinthe Rigaud (d'après) Louis XV.jpg|Portrait of [[Louis XV]], (1727–1729), Versailles
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File:La Menasseuse 1709.jpg|La Menasseuse
File:La Menasseuse 1709.jpg|La Menasseuse
Suzanne de Boubers de Bernâtre.JPG|Portrait of Suzanne de Bourbers de Bernâtre
Suzanne de Boubers de Bernâtre.JPG|Portrait of Suzanne de Bourbers de Bernâtre
File:Hyacinthe Rigaud (French) - Charles de Saint-Albin, Archbishop of Cambrai - Google Art Project.jpg|Charles de Saint-Albin, Archbishop of Cambrai
File:Hyacinthe Rigaud (French) - Charles de Saint-Albin, Archbishop of Cambrai - Google Art Project.jpg|[[Charles de Saint-Albin]], Archbishop of Cambrai
File:Portrait of François Marie de Broglie, Duke of Broglie, Marshal of France (member of the circle of Hyacinthe Rigaud).jpg|Portrait of the Duke of Broglie (1671–1745), half-length, in armor with a velvet-lined, leopard skin mantle and the Sash of the Order of Holy Spirit, the baton of a Marshal of France in his left hand
File:Portrait of François Marie de Broglie, Duke of Broglie, Marshal of France (member of the circle of Hyacinthe Rigaud).jpg|Portrait of the [[François Marie de Broglie, 1st Duke of Broglie|Duke of Broglie]] (1671–1745), half-length, in armor with a velvet-lined, leopard skin mantle and the Sash of the Order of Holy Spirit, the baton of a Marshal of France in his left hand
</gallery>
</gallery>


==References==
==References==
===Notes===
<references group="n"/>
{{notelist}}

===Citations===
{{Reflist}}
{{Reflist}}


==External links==
==Further reading==
* {{cite book |lang=fr |last=Colomer |first=Claude |title=La Famille et le milieu social du peintre Rigaud |date=1973 |location=Perpignan |publisher=Connaissance du Roussillon}}
⚫
* {{Commons-inline|Hyacinthe Rigaud}}
* {{cite book |lang=fr |last=Perreau |first=Stéphan |others=Preface by Xavier Salmon |title=Hyacinthe Rigaud (1659-1743), le peintre des rois |location=Montpellier |publisher=Nouvelles Presses du Languedoc |date=2004 |isbn=2-859-98285-X |oclc=58986292}}
* {{cite book |lang=fr |last=Roman |first=Joseph |title=Le Livre de raison du peintre Hyacinthe Rigaud |date=1919 |location=Paris |publisher=Laurens}}

== External links ==
* [https://www.musee-rigaud.fr/ Musee-rigaud] - Official webpage of the Rigaud Museum.
* [https://www.hyacinthe-rigaud.com/index.php Hyacinthe-rigaud] - Complete catalogue of Rigaud's works by French art historian [[Stéphan Perreau]]

⚫
{{commons category|Hyacinthe Rigaud}}

{{Académie royale de peinture et de sculpture}}


{{Authority control (arts)}}
{{ACArt}}


{{DEFAULTSORT:Rigaud, Hyacinthe}}
{{DEFAULTSORT:Rigaud, Hyacinthe}}
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[[Category:Prix de Rome for painting]]
[[Category:Prix de Rome for painting]]
[[Category:French Baroque painters]]
[[Category:French Baroque painters]]
[[Category:18th-century French male artists]]
[[Category:Members of the Académie royale de peinture et de sculpture]]

Latest revision as of 07:57, 24 February 2024

Hyacinthe Rigaud
Self-portrait in a turban (1698)
Born
Jacint Rigau-Ros i Serra

(1659-07-18)18 July 1659
Perpignan, Spanish Empire
Died29 December 1743(1743-12-29) (aged 84)
Paris, Kingdom of France
NationalityFrench
EducationCharles Le Brun
Paul Pezet (presumed)
Antoine Ranc (presumed)
Known forpainting, portraiture
Notable workcoronation portrait of Louis XIV; The Presentation in the temple; portrait of Bossuet in winter costume; portraits of Louis XIV
MovementBaroque
AwardsPrix de Rome (1682)
Signature
Director of the Académie de Peinture et de Sculpture
In office
1733–1735[a]
MonarchLouis XV
Preceded byLouis de Boullogne
Succeeded byGuillaume Coustou

Jacint Rigau-Ros i Serra (Catalan pronunciation: [ʒəˈsin riˈɣaw ˈrɔz i ˈsɛrə]; 18 July 1659 – 29 December 1743), known in French as Hyacinthe Rigaud (pronounced [jasɛ̃t ʁiɡo]), was a Spanish-French baroque painter most famous for his portraits of Louis XIV and other members of the French nobility.

Biography[edit]

Self-portrait with a blue coat (1696)

Rigaud was born in Perpignan, then part of the Crown of Aragon, a few months before Spain ceded the city to France under the Treaty of the Pyrenees (7 November 1659). His family, the Rigau, were Catalan; he was the son of a tailor, the grandson of painter-gilders from Roussillon, and the elder brother of another painter (Gaspard).[1]

Rigaud was baptised with his Catalan name in the old Cathédrale Saint-Jean-Baptiste de Perpignan on 20 July 1659,[2] two days after his birth at rue de la Porte-d'Assaut. His baptismal name was Jyacintho Rigau or Jacint Rigau i Ros[1] This is sometimes transliterated as Híacint Francesc Honrat Mathias Pere Martyr Andreu Joan Rigau[b] After the Roussillon and the Cerdanya were ceded to France the following 7 November owing to the Treaty of the Pyrenees, the Rigau remained in Roussillon, and became French subjects.

He was trained in tailoring in his father's workshop, but perfected his skills as a painter under Antoine Ranc at Montpellier from 1671 onwards, before moving to Lyon four years later. It was in these cities that he became familiar with Flemish, Dutch and Italian painting, particularly that of Rubens, Van Dyck, Rembrandt and Titian, whose works he later collected. Arriving in Paris in 1681, he won the prestigious scholarship known as the prix de Rome in 1682, but on the advice of Charles Le Brun did not make the trip to Rome which was included in the scholarship. Rigaud was received into the Académie royale de peinture et de sculpture in 1710, and he rose to the top of this institution before retiring from it in 1735.

Louis, Duke of Burgundy (1682–1712), grandson of King Louis XIV (1638–1715) and son of Louis the Grand Dauphin (1661–1711).

Since Rigaud's paintings captured very exact likenesses along with the subject's costumes and background details, his paintings are considered precise records of contemporary fashions.

Perpignan in 1642 (ADPO (ca))

Family[edit]

Hyacinthe's father, Josep Matias Pere Ramon Rigau, was a tailor (sastre in Catalan) in the parish of Saint-Jean de Perpignan, "as well as a painter",[2] descended from a line of well-established artists in the Perpignanian basin who had been commissioned to decorate several tabernacles and other panels for liturgical use. Few of these have survived to the present (Palau-del-Vidre, Perpignan, Montalba-d'Amélie, Joch...). Hyacinthe's grandfather, Jacinto major,[c] and even more Jacinto's father, Honorat minor,[d] were heads of the family and the local art world from 1570 to 1630; probably as much as gilders as painters,[3] since in their studios were to be found "many prints and books treating on the art of painting, and other things, such as brushes and palettes for painting".[4]

Working for the collège Saint-Éloi in his city since 1560, and acting as representative of its guild of painters and gilders, on 22 November 1630 Jacinto major and other gilders and colleagues[e] participated in the development of the statutes and minutes of the city's collège Saint-Luc .[5] Honorat minor is generally identified as the painter of The Canonisation of Saint Hyacinthe, formerly in Perpignan's Dominican convent and now at Joch,[6] the tabernacle of the church of Palau-del-Vidre (28 March 1609) and the retable at Montalba near Amélie-les-Bains. The father of Honorat minor is generally identified as the painter of the retable of Saint-Ferréol (1623) in the église Saint-Jacques de Perpignan and formerly in the couvent des Minimes, whilst Honorat major is usually identified as the painter of the paintings of the retable of the église Saint-Jean-l'Évangéliste at Peyrestortes.[7]

On 13 March 1647, Hyacinthe's father Matias Rigau, married Thérèse Faget (1634–1655), daughter of a carpenter.[f] Widowed shortly after, he decided to speedily remarry, to Maria Serra, daughter of a Perpignan textile merchant (pentiner in Catalan), on 20 December 1655.[8] In 1665, he acquired a house "en lo carrer de las casas cremades" (now rue de l'Incendie, near the cathedral) and received the income from a parcel of vineyards in the Bompas territory.[4] By his second marriage, he also acquired a house on place de l'Huile, but he soon sold it.[4]


Journey to Lyon[edit]

"Gaspard de Gueidan playing the musette" (Gaspard de Gueidan en joueur de musette, 1738), Musée Granet, Aix-en-Provence.

Little is known about Rigaud's activities in Lyon, due to the lack of surviving documents. However, as per tradition, artists from Montpellier had strong ties with this city, as had, for example, Samuel Boissière who was trained in there, in Lyon.[9] The identity of Rigaud's future depicted models shows that he worked for the city's cloth merchants, whose flourishing trade had long since given the city its profitable income.[10]

Even if they had only been registered from 1681 onwards, the date when he moved to Paris, his "youthful" portraits were probably pre-dated, like those of Antoine Domergue, the king's councillor and provincial governor of Lyon, in 1686,[11] and "Mr Sarazin de Lion", of a famous dynasty of bankers of Swiss origins, in 1685.[12] Rigaud's portrait of Jean de Brunenc, painted in 1687, a silk merchant, banker and consul of Lyon, assembles all the ingredients for which the painter was later successful.[13]

In her thesis on the engravers from the Drevet family,[14] Gilberte Levallois-Clavel revealed certain aspects of the private relations between Rigaud and Pierre Drevet; their friendship came about at the beginning of the 1700s, after the painter produced a portrait of the engraver, in which he depicted himself as well.[15]

In 1681, when Hyacinthe Rigaud decided to move to Paris, inspired by Drevet who was also attracted to the capital, he had already established a good reputation amongst the local clientele, from Switzerland to Aix-en-Provence.[16]

Christ expiant sur la Croix, Hyacinthe Rigaud, 1695

Going back to the artist's biography, Dezallier d'Argenville states that one of Rigaud's main reasons for his 1695 voyage was to paint his mother's portrait: "He painted her from many angles, and had her marble bust made by the notable Coysevox, which was his cabinet's ornament for the rest of his life". In his first will, dated 30 May 1707, the artist left the bust to the Grand Dauphin, Louis XIV's son, though the sculpture would then be left to the Academy which explains its presence in the Louvre. Also in the document, Rigaud bequeathed the portrait containing the two profiles of Maria Serra to the elder son of his brother Gaspard, named Hyacinthe.

In reality, Rigaud painted a second painting, bearing the three stances presented to Coysevox: an oval painting kept in a private collection, copied by Géricault, in Dijon, and the subject of one of Drevet's engravings. He also applied sketches of his sister Claire, accompanied by her husband and their first daughter, to the canvas.

The year 1695 also saw the production of two versions of Christ expiant sur la Croix, with a distinct Flemish influence, proof of Rigaud's rare incursion into the domain of historical depictions or the "great genre". He bequeathed his mother the first version which would then, at her death, be left to the Grands Augustins convent in Perpignan, and gave the second, in 1722, to the Dominican convent of his city of birth.

In spring 1696, Hyacinthe Rigaud returned to Paris, where he painted one of his most important portraits of the year. This was in fact solicited by the duke of Saint-Simon, to depict Armand Jean le Bouthillier de Rancé, an abbot, using a skillful subterfuge that remains notable in the history of painting.

In 1709, he was made a noble by his hometown of Perpignan. In 1727, he was made a knight of the Order of Saint Michael.

Following the death of directeur Louis de Boullogne on 28 November 1733, Rigaud proposed that the four rectors of the Académie, Nicolas de Largillière, Claude-Guy Hallé, Guillaume Coustou, and himself, rotate the post.[17][18] This oligarchy would persist until the election of Coustou as sole director on 5 February 1735.[19]

Rigaud died in Paris on 29 December 1743 at the age of 84.

  • House located rue Louis-le-Grand (Paris 2) where the artist died
  • House.
    House.
  • Plaque.
    Plaque.

Clientele[edit]

Portrait of Louis XIV, King of France and Navarre, 1701. This piece is arguably Rigaud's most famous work.

He was one of the most important portrait painters during the reign of King Louis XIV. His instinct for impressive poses and grand presentations precisely suited the tastes of the royal personages, ambassadors, clerics, courtiers, and financiers who sat for him. Rigaud owes his celebrity to the faithful support he received from the four generations of Bourbons whose portraits he painted; namely King Louis XIV, next his son Louis, Grand Dauphin, then the King's grandson (the Grand Dauphin's son) Louis, Duke of Burgundy (also called the Petit Dauphin), and finally the Grand Dauphin's grandson (the Petit Dauphin's son), who became the next king—Louis XV, who succeeded his great-grandfather Louis XIV in 1715. He garnered the core of his clientele among the richest circles as well as among the bourgeois, financiers, nobles, industrialists and government ministers, also courting all the major ambassadors of his time and several European monarchs. His œuvre reads as a near-complete portrait gallery of the chief movers in France from 1680 to 1740. Some of that œuvre (albeit a minority) also includes those of more humble origins – Rigaud's friends, fellow artists or simple businessmen.

Rigaud is inseparable from his best-known work, a 1701 painting of Louis XIV in his coronation costume which today hangs in the Louvre in Paris,[20] as well as the second copy also requested by Louis XIV that now hangs at the Palace of Versailles.[21]

He is renowned for his portrait paintings of Louis XIV, the royalty and nobility of Europe, and members of their courts and considered one of the most notable French portraitists of the classical period. For Jacques Thuillier, professor at the Collège de France:

Hyacinthe Rigaud was one of those French painters who knew the highest celebrity under the Ancien Régime. This admiration was deserved both for the surprising abundance of his work and for its constant perfection.[22]

According to the French art historian Louis Hourticq,

On his death, Rigaud left behind a gallery of major figures with whom our imagination now populates the galerie des Glaces; Rigaud was necessary to the 'gloire' of Louis XIV and participated in this shining of a reign whose majesty he fixed [in paint].[23]

True "photographs",[24] faces that Diderot called "letters of recommendation written in the common language of all men",[25] Rigaud's works today populate the world's major museums.

Legacy[edit]

Portrait of Jean-Baptiste de Montginot (1688)

Rigaud's works today populate the world's major museums. The exact number of paintings he produced remains in dispute, since he left a highly detailed catalogue but also more than a thousand different models which specialists agree he used.[26] To these may be added the large number of copies in Rigaud's book of accounts, without even mentioning the hundreds of other paintings rediscovered since the accounts' publication in 1919. Rigaud painted many important figures in the world of art such as the sculptors Desjardins (to whom, as an old friend, he delivered three successive portraits), Girardon and Coysevox; the painters Joseph Parrocel, La Fosse and Mignard; the architects De Cotte, Hardouin-Mansart and Gabriel. He also painted portraits of poets such as La Fontaine or Boileau, as well as religious figures such as the cardinal de Fleury and Bossuet; many influential archbishops and bishops paid large sums of money for a portrait.

The Musée d'art Hyacinthe Rigaud [fr], a museum dedicated to Rigaud's artwork, opened in Perpignan in 1833.[27] The museum has since expanded to include works by Aristide Maillol, Raoul Dufy, and other artists.[28] It received over 65,000 visitors in 2017 following its renovation and a temporary exhibition dedicated to Picasso.[29]

Selected works[edit]

Painting depicting Mary Magdalene in prayer.
An artwork displaying the Lafitte family[g]
  • Portrait of Graf Philipp Ludwig Wenzel von Sinzendorf, 1712, oil on canvas, 166 cm × 132 cm (65 in × 52 in), Kunsthistorisches Museum, Vienna
  • Portrait of Philippe de Courcillon, Marquis de Dangeau, 1702, oil on canvas, 162 cm × 150 cm (64 in × 59 in), Musée national du château de Versailles et des Trianons, Versailles
  • Portrait of Louis XIV, 1701, oil on canvas, 279 cm × 190 cm (110 in × 75 in), Musée du Louvre, Paris
  • Portrait of Louis XIV, c. 1700, oil on canvas, Centre Block, Parliament of Canada, Ottawa
  • ditto, oil on canvas, 238 cm × 149 cm (94 in × 59 in), Museo del Prado, Madrid
  • ditto, oil on canvas, 1694 (full shot portrait), Musée du Louvre, Paris
  • ditto, oil on canvas, 1715 (full shot portrait, "State Portrait"), Musée national du château de Versailles et des Trianons, Versailles
  • Portrait of the artist's mother, 1695, oil on canvas, 83 cm × 103 cm (33 in × 41 in), Musée du Louvre, Paris
  • Portrait of Everhard Jabach, 1688, oil on canvas, 58.5 cm × 47 cm (23.0 in × 18.5 in), Wallraf-Richartz Museum, Cologne
  • Studies of Spaniels And Whippets, And A Study of a White Headdress, oil on canvas
  • Portrait of Louis Bossuet, location unknown[30]
  • Portrait of a Scholar, oil on canvas, Hermitage Museum, St Petersburg, Russia
  • Portrait of Pierre Imbert Drevet, c. 1700, oil on canvas, 116 cm × 89 cm (46 in × 35 in), Musée des beaux-arts de Lyon, France
  • Portrait of Louis XV of France at the age 5, wearing the Coronation Robes, 1715, oil on canvas, Musée national du château de Versailles et des Trianons, Versailles
  • Portrait of Elizabeth Charlotte of the Palatinate, c. 1719, oil on canvas, Musée national du château de Versailles et des Trianons, Versailles
  • Portrait of La comtesse de Selles Marguerite-Henriette de Labriffe , 1712, oil on canvas
  • Portrait of Charles Auguste d'Allonville de Louville, Marquis de Louville, 1708, oil on canvas, private collection
  • Portrait of Frederick IV of Denmark, Nationalhistoriske Museum, Frederiksborg Palace, Denmark
  • Portrait of Sébastien Bourdon, drawing, 1731, 36.1 cm × 24.9 cm (14.2 in × 9.8 in), Städelsches Kunstinstitut und Städtische Galerie, Frankfurt am Main
  • Portrait of Louis Antoine de Pardaillan de Gondrin, Marquis d'Antin, c. 1710
  • Portrait of Augustus II the Strong, oil on canvas, 1715, Gemäldegalerie Alte Meister, Dresden
  • Portrait of Martin van der Bogaert, drawing, c. 1700, 37.4 cm × 28.7 cm (14.7 in × 11.3 in), Städelsches Kunstinstitut, Frankfurt am Main
  • Portrait of a young scholar, drawing, 1685, 31.4 cm × 25.5 cm (12.4 in × 10.0 in), Städelsches Kunstinstitut und Städtische Galerie, Frankfurt am Main
  • Portrait of Cardinal Henri Oswald de La Tour d'Auvergne, 1732, oil on canvas, 142 cm × 113 cm (56 in × 44 in), private collection.
  • Portrait of Nicolas Le Camus, drawing, c. 1701, 38.4 cm × 29.4 cm (15.1 in × 11.6 in), Städelsches Kunstinstitut und Städtische Galerie, Frankfurt am Main

Paintings[edit]

References[edit]

Notes[edit]

  1. ^ The directorship of the Académie was shared until February 1735 between Rigaud and the three other rectors: Guillaume Coustou, Claude-Guy Hallé, and Nicolas de Largillière
  2. ^ there are reportedly other names (sources vary): different last names at birth: Hyacinthe-François-Honoré-Mathias-Pierre Martyr-André Jean Rigau y Ros or François Hyacinthe Rigaud, or Hyacinthe Riguad and Hiacint Rigau, different first names at birth: Jyacintho, Francisco, Honorat, Matias, Pere, Martir, Andreu, and Joan
  3. ^ died in 1631. On 25 July 1617, in the église de La Réal in Perpignan, he married Madalena Roat. She was the widow of Pera Roat and on 1 November 1634 remarried in the église Saint-Mathieu in Perpignan, to Antoni Balasco.
  4. ^ His year of birth unknown, on 5 July 1617 in the église de La Réal in Perpignan he married Antiga Franch, widow of Antoni Franch
  5. ^ Joan Antoni Marti, Guillem Andreu, Thomas Blat et Jaume Fuster
  6. ^ Joan Antoni Faget had already died, in 1647. The marriage contract was witnessed before Honoré Sunyer in Perpignan.
  7. ^ Jean Lafitte dit Lafita (died 1737), bailiff of Perpignan; his wife Claire-Marie-Madeleine-Géronime, the artist's sister; and their eldest daughter, Marie.

Citations[edit]

  1. ^ a b Catalogne Nord.com. "Catalan Art & The Artists – Painting". Archived from the original on 28 September 2007. Retrieved 15 June 2007.
  2. ^ a b Colomer 1973, p. 11
  3. ^ Julien Lugan, Peintres et doreurs en Roussillon aux XVIIe et XVIIIe siècles, Canet, éditions Trabucaire, 2006.
  4. ^ a b c Colomer 1973, p. 13
  5. ^ Lugand, op. cit. p. 248.
  6. ^ After Marcel Durliat. Cited by Olivier Poisson, "Les Rigau (d)", in Terres Catalanes, n°10, March 1996, p. 54–55.
  7. ^ O. Poisson, op. cit., p. 54.
  8. ^ Colomer 1973, p. 12
  9. ^ (in French) Henri Marcel Kühnholtz, Samuel Boissière, peintre de Montpellier, au XVIIe siècle, Montpellier, Castel, 1845.
  10. ^ (in French)Perreau 2004, p. 41
  11. ^ (in French) Roman 1919, p. 11
  12. ^ (in French) Roman 1919, p. 9
  13. ^ (in French) Roman 1919, p. 13
  14. ^ (in French) Gilberte Levallois-Clavel, Pierre Drevet (1663–1738), graveur du roi et ses élèves Pierre-Imbert Drevet (1697–1739), Claude Drevet (1697–1781), Lyon, 2005, édition numérique[permanent dead link]
  15. ^ (in French) Catalogue de l'exposition Visages du Grand Siècle, le portrait français sous le règne de Louis XIV, Nantes-Toulouse, 1997, 1998, p. 42-43
  16. ^ (in French) Ariane James-Sarazin, "Hyacinthe Rigaud et ces messieurs d'Aix-en-Provence", dans Bibliothèque de l'École des chartes, 2003, t. 161, p. 67-113.
  17. ^ de Montaiglon, Anatole, ed. (1883). Procès-Verbaux de l'Académie Royale de peinture et de sculpture, 1648-1793 (in French). Vol. V. Paris: J. Baur. pp. 127–128.
  18. ^ Michel, Christian (2018). The Académie Royale de Peinture Et de Sculpture: The Birth of the French School, 1648-1793. Getty Research Institute. p. 352.
  19. ^ Williams, Hannah (2016). Académie Royale: A History in Portraits. Routledge. p. 294. ISBN 978-1-4094-5742-8.
  20. ^ Paris, musée du Louvre, Inv.7492)
  21. ^ Découverte du Château de Versailles: offre culturelle du Château de Versailles Archived 26 August 2006 at the Wayback Machine
  22. ^ (in French) Jacques Thuillier, professor at the Collège de France, member of the Haut comité des célébrations nationales
  23. ^ (in French) Louis Hourticq, De Poussin à Watteau, Paris, 1921
  24. ^ Antoine-Joseph Dezallier d'Argenville 1745, p. 318
  25. ^ Jacques Proust, "Diderot et la Physiognomonie", CAIEF, 13, 1961, p.317–319.
  26. ^ (in French) Hyacinthe Rigaud – Portrait d'une clientèle
  27. ^ "L'histoire du musée". musee-rigaud.fr (in French). Retrieved 26 July 2023.
  28. ^ "Les collections". musee-rigaud.fr (in French). Retrieved 26 July 2023.
  29. ^ Torres, Maite (3 November 2017). "Musée Rigaud – 65.000 visiteurs depuis l'ouverture – «Une très belle surprise»". Made In Perpignan (in French). Retrieved 26 July 2023.
  30. ^ J. Roman, Le livre de raison du peintre Hyacinthe Rigaud, Paris, 1919, p. 66

Further reading[edit]

  • Colomer, Claude (1973). La Famille et le milieu social du peintre Rigaud (in French). Perpignan: Connaissance du Roussillon.
  • Perreau, Stéphan (2004). Hyacinthe Rigaud (1659-1743), le peintre des rois (in French). Preface by Xavier Salmon. Montpellier: Nouvelles Presses du Languedoc. ISBN 2-859-98285-X. OCLC 58986292.
  • Roman, Joseph (1919). Le Livre de raison du peintre Hyacinthe Rigaud (in French). Paris: Laurens.

External links[edit]

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