The Mays were a series of paintings in 17th and early 18th century Paris. They were commissioned by the goldsmiths' guild of Paris to offer to the cathedral of Notre-Dame de Paris in the early days of the month of May. The tradition began in 1630 and one painting was offered each year between then and 1707, with the exception of 1683 and 1694.
Image | Year | Painter | Title | Notes | Current location / status |
---|---|---|---|---|---|
1630 | Georges Lallemant | Saints Peter and Paul Climbing Up To The Temple | Saint-Chéron, parish church | ||
1631 | Pierre-Antoine Lemoine | The Miracle of the Madonna | Lost | ||
1632 | Aubin Vouet | The Deaths of Ananias and Sapphira | Rouen, musée des Beaux-Arts | ||
1633 | Georges Lallemant | Saint Stephen Praying Before His Martyrdom | Lost | ||
1634 | Jacques Blanchard | The Descent of the Holy Spirit | Paris, cathédrale Notre-Dame | ||
1635 | Laurent de La Hyre | Saint Peter Curing the Sick By His Shadow | Paris, cathédrale Notre-Dame | ||
1636 | Jacques de Létin | Saint Paul Preaching on the Areopagus | Destroyed in 1870; previously Strasbourg, musée des Beaux-Arts | ||
1637 | Laurent de La Hyre | The Conversion of saint Paul | Paris, cathédrale Notre-Dame | ||
1638 | Claude Vignon | The Baptism of Queen Candace's Eunuch | Lost | ||
1639 | Aubin Vouet | The Centurion Cornelius at Saint Peter's Feet | Paris, cathédrale Notre-Dame | ||
1640 | Aubin Vouet | The Freeing of Saint Peter | Toulouse, musée des Augustins | ||
1641 | Nicolas Prévost | The Beheading of Saint James | Lost | ||
1642 | Charles Poerson | Saint Peter Preaching in Jerusalem | Paris, cathédrale Notre-Dame | ||
1643 | Sébastien Bourdon | The Crucifixion of Saint Peter | Paris, cathédrale Notre-Dame | ||
1644 | Michel Corneille l'Ancien | Saint Paul and Saint Barnabas at Lystra | Arras, musée des Beaux-Arts | ||
1645 | Charles Errard | Saint Paul Regains His Sight | Lost | ||
1646 | Louis Boullogne | Saint Paul's Miracle at Ephesus | Arras, musée des Beaux-Arts | ||
1647 | Charles Le Brun | The Crucifixion of Saint Andrew | Paris, cathédrale Notre-Dame | ||
1648 | Louis Boullogne | The Martyrdom of Saint Simon | Arras, musée des Beaux-Arts | ||
1649 | Eustache Le Sueur | Saint Paul Preaching at Ephesus | Paris, musée du Louvre | ||
1650 | Nicolas Loir | Saint Paul Blinding the False Prophet Barjesus and Converting the Proconsul Sergius | Paris, cathédrale Notre-Dame | ||
1651 | Charles Le Brun | The Stoning of Saint Stephen | Paris, cathédrale Notre-Dame | ||
1652 | Louis Testelin | Saint Peter Reviving the Widow Tabitha | Arras, musée des Beaux-Arts | ||
1653 | Charles Poerson | Saint Paul Bitten by a Snake on Malta | Lost | ||
1654 | Zacharie Heince | The Conversion of Lydia | Lost | ||
1655 | Louis Testelin | The flagellation of Saint Paul and Saint Silas | Paris, cathédrale Notre-Dame | ||
1656 | Étienne Villequin | Saint Paul Delivering Agrippa | Lyon, église Saint-Pothin | ||
1657 | Louis Boullogne | The Beheading of Saint Paul | Paris, musée du Louvre | ||
1658 | Michel Corneille l'Ancien | Saint Peter at Caesarea | Toulouse, église Saint-Pierre | ||
1659 | René Dudot | Saint Peter Reviving the Widow Tabitha | Lost | ||
1660 | Antoine Paillet | The Martyrdom of Saint Bartholomew | Lyon, cathédrale Saint-Jean | ||
1661 | Noël Coypel | Saint James Being Led to Torture, Curing a Paralysed Man and Embracing His Accuser | Paris, musée du Louvre | ||
1662 | Daniel Hallé | The Martyrdom of Saint John at the Latin Gate | Clermont-Ferrand, musée d'Art Roger Quillot | ||
1663 | Thomas Blanchet | The Rapture of Saint Philip | Arras, musée des Beaux-Arts | ||
1664 | Jérôme Sorlay | Christ Appears to Saint Peter | Versailles, cathédrale Saint-Louis | ||
1665 | Zacharie Heince | Saint Peter and Simon the Magician | Lost | ||
1666 | Nicolas de Plattemontagne | Saint Paul et Silas | Paris, musée du Louvre | ||
1667 | Jean-Baptiste de Champaigne | Saint Paul's Martyrdom at Lystra | Marseille, musée des Beaux-Arts | ||
1668 | Claude-François Vignon | Saint Bartholomew Healing the King of Armenia's Daughter | Lost | ||
1669 | Louis Boullogne | The Ascension | Lost | ||
1670 | Gabriel Blanchard | Saint André trésaille de joie à la vue de son supplice | Paris, cathédrale Notre-Dame | ||
1671 | Jean-Baptiste de Cany | The Conversion of Saint Dionysius the Areopagite at Athens | Lost | ||
1672 | Michel Corneille le Jeune | The Calling of Saint Peter and Saint Andrew | Arras, musée des Beaux-Arts | ||
1673 | Jean Jouvenet | Jesus Healing a Paralysed Man | Lost (destroyed in 1944 in the chapel of the École militaire de Saint-Cyr) | ||
1674 | Claude II Audran | The Beheading of Saint John the Baptist | Paris, musée du Louvre | ||
1675 | René-Antoine Houasse | The Vision of Saint Stephen | Paris, musée du Louvre | ||
1676 | Michel Ballin | Saint Paul and Saint Barnabas Separate | Lost | ||
1677 | François Verdier | The Resurrection of Lazarus | Paris, église Saint-Germain-des-Prés | ||
1678 | Bon Boullogne | Christ Healing a Paralysed Man at the Baths of Bethseda | Arras, musée des Beaux-Arts | ||
1679 | Jean-Baptiste Corneille | The Freeing of Saint Peter | Lost | ||
1680 | Antoine Coypel | The Assumption of the Virgin | Mirande, église Sainte-Marie | ||
1681 | Alexandre Ubelesqui | The Baptism of Christ | Lost | ||
1682 | Jean Cotelle | The Marriage at Cana | Yssingeaux, église Saint-Pierre | ||
1683 | no may | no may | |||
1684 | Charles-François Poërson | Christ Healing the Sick at Gennesaret | Saint-Symphorien-en-Laye, église Notre-Dame | ||
1685 | Louis de Boullogne | The Centurion at Christ's Feet | Arras, musée des Beaux-Arts | ||
1686 | Claude Guy Hallé | Jesus Driving the Money-Changers out of the Temple | Arras, musée des Beaux-Arts | ||
1687 | Louis Chéron | The Prophet Agabus Predicting to Saint Paul What He Would Suffer At Jerusalem | Paris, cathédrale Notre-Dame | ||
1688 | Guy-Louis Vernansal | Christ Reviving Jairus' Daughter | Arras, musée des Beaux-Arts | ||
1689 | Louis Chéron | Salome Carrying the Head of John the Baptist | Lost | ||
1690 | Simon Guillebault | Christ Reviving the Widow of Nain's Son | Larchant, église Saint-Martin | ||
1691 | Alexandre Ubelesqui | Christ Healing the Sick | Paris, musée du Louvre | ||
1692 | Arnould de Vuez | The Incredulity of Saint Thomas | Lyon, cathédrale Saint-Jean | ||
1693 | Joseph Parrocel | Saint John the Baptist Preaching | Arras, musée des Beaux-Arts | ||
1694 | no may | no may | |||
1695 | Louis de Boullogne the younger | Christ and the Samaritan Woman | Wardour Castle, Wiltshire | ||
1696 | Joseph Christophe | The Miracle of the Loaves | Lost | ||
1697 | François Marot | Christ Appearing to the Three Marys | Lost | ||
1698 | Joseph Vivien | The Adoration of the Magi | Lost | ||
1699 | François Tavernier | The Repentance of Saint Peter | Lost | ||
1700 | Guy-Louis Vernansal | Christ and the Deaf-Mute Boy Possessed by an Evil Spirit | Lost | ||
1701 | Étienne Regnault | Christ and the Woman Caught in Adultery | Lost | ||
1702 | Mathieu Elias | Sceva's Children Attacked by a Demon | Paris, cathédrale Notre-Dame | ||
1703 | Louis de Silvestre | Saint Peter Curing a Paralysed Man at the Temple Gate | Arras, musée des Beaux-Arts | ||
1704 | Claude Simpol | Christ in the House of Martha and Mary | Arras, musée des Beaux-Arts | ||
1705 | Louis Galloche | Saint Paul Departs for Miletus | Paris, musée du Louvre | ||
1706 | Pierre-Jacques Cazes | The Curing of the Woman with a Flow of Blood | Arras, musée des Beaux-Arts | ||
1707 | Jacques Courtin | Saint Paul preaching at Troad and Reviving the young Eutychus | Toulouse, cathédrale Saint-Étienne |
Édouard Manet was a French modernist painter. He was one of the first 19th-century artists to paint modern life, as well as a pivotal figure in the transition from Realism to Impressionism.
Fresco is a technique of mural painting executed upon freshly laid ("wet") lime plaster. Water is used as the vehicle for the dry-powder pigment to merge with the plaster, and with the setting of the plaster, the painting becomes an integral part of the wall. The word fresco is derived from the Italian adjective fresco meaning "fresh", and may thus be contrasted with fresco-secco or secco mural painting techniques, which are applied to dried plaster, to supplement painting in fresco. The fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting.
History painting is a genre in painting defined by its subject matter rather than any artistic style or specific period. History paintings depict a moment in a narrative story, most often Greek and Roman mythology and Bible stories, opposed to a specific and static subject, as in portrait, still life, and landscape painting. The term is derived from the wider senses of the word historia in Latin and histoire in French, meaning "story" or "narrative", and essentially means "story painting". Most history paintings are not of scenes from history, especially paintings from before about 1850.
Impressionism was a 19th-century art movement characterized by relatively small, thin, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities, ordinary subject matter, unusual visual angles, and inclusion of movement as a crucial element of human perception and experience. Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s.
Pablo Ruiz Picasso was a Spanish painter, sculptor, printmaker, ceramicist and theatre designer who spent most of his adult life in France. One of the most influential artists of the 20th century, he is known for co-founding the Cubist movement, the invention of constructed sculpture, the co-invention of collage, and for the wide variety of styles that he helped develop and explore. Among his most famous works are the proto-Cubist Les Demoiselles d'Avignon (1907), and the anti-war painting Guernica (1937), a dramatic portrayal of the bombing of Guernica by German and Italian air forces during the Spanish Civil War.
Pierre-Auguste Renoir was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has been said that "Renoir is the final representative of a tradition which runs directly from Rubens to Watteau."
Rococo, less commonly Roccoco, also known as Late Baroque, is an exceptionally ornamental and dramatic style of architecture, art and decoration which combines asymmetry, scrolling curves, gilding, white and pastel colours, sculpted moulding, and trompe-l'œil frescoes to create surprise and the illusion of motion and drama. It is often described as the final expression of the Baroque movement.
Jean-Auguste-Dominique Ingres was a French Neoclassical painter. Ingres was profoundly influenced by past artistic traditions and aspired to become the guardian of academic orthodoxy against the ascendant Romantic style. Although he considered himself a painter of history in the tradition of Nicolas Poussin and Jacques-Louis David, it is his portraits, both painted and drawn, that are recognized as his greatest legacy. His expressive distortions of form and space made him an important precursor of modern art, influencing Picasso, Matisse and other modernists.
Nicolas Poussin was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. Most of his works were on religious and mythological subjects painted for a small group of Italian and French collectors. He returned to Paris for a brief period to serve as First Painter to the King under Louis XIII and Cardinal Richelieu, but soon returned to Rome and resumed his more traditional themes. In his later years he gave growing prominence to the landscape in his paintings. His work is characterized by clarity, logic, and order, and favors line over color. Until the 20th century he remained a major inspiration for such classically-oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne.
Marc Chagall was a Russian-French artist. An early modernist, he was associated with several major artistic styles and created works in a wide range of artistic formats, including painting, drawings, book illustrations, stained glass, stage sets, ceramics, tapestries and fine art prints.
Eugène Henri Paul Gauguin was a French Post-Impressionist artist. Unappreciated until after his death, Gauguin is now recognized for his experimental use of colour and Synthetist style that were distinct from Impressionism. Toward the end of his life, he spent ten years in French Polynesia. The paintings from this time depict people or landscapes from that region.
Abstract art uses visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world.
Oil paint is a type of slow-drying paint that consists of particles of pigment suspended in a drying oil, commonly linseed oil. The viscosity of the paint may be modified by the addition of a solvent such as turpentine or white spirit, and varnish may be added to increase the glossiness of the dried oil paint film. The addition of oil or alkyd medium can also be used to modify the viscosity and drying time of oil paint. Oil paints were first used in Asia as early as the 7th century AD and can be seen in examples of Buddhist paintings in Afghanistan. Oil-based paints made their way to Europe by the 12th century and were used for simple decoration, but oil painting did not begin to be adopted as an artistic medium there until the early 15th century. Common modern applications of oil paint are in finishing and protection of wood in buildings and exposed metal structures such as ships and bridges. Its hard-wearing properties and luminous colors make it desirable for both interior and exterior use on wood and metal. Due to its slow-drying properties, it has recently been used in paint-on-glass animation. The thickness of the coat has considerable bearing on the time required for drying: thin coats of oil paint dry relatively quickly.
The Salon, or rarely Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it was managed by the Société des Artistes Français.
Les Demoiselles d'Avignon is a large oil painting created in 1907 by the Spanish artist Pablo Picasso.
Alfred Émile Léopold Stevens was a Belgian painter, known for his paintings of elegant modern women. In their realistic style and careful finish, his works reveal the influence of 17th-century Dutch genre painting. After gaining attention early in his career with a social realist painting depicting the plight of poor vagrants, he achieved great critical and popular success with his scenes of upper-middle class Parisian life. He tended to use the same models over and over again, and not all of them were aristocratic. "At least three of his frequent models can be identified in the infamous Book of the Courtesans, a top secret leather bound book containing the surveillance files of the Paris vice squad," writes author Summer Brennan.
The Musée Carnavalet in Paris is dedicated to the history of the city. The museum occupies two neighboring mansions: the Hôtel Carnavalet and the former Hôtel Le Peletier de Saint Fargeau. On the advice of Baron Haussmann, the civil servant who transformed Paris in the latter half of the 19th century, the Hôtel Carnavalet was purchased by the Municipal Council of Paris in 1866; it was opened to the public in 1880. By the latter part of the 20th century, the museum was full to capacity. The Hôtel Le Peletier de Saint Fargeau was annexed to the Carnavalet and opened to the public in 1989.
The Passage des Panoramas is the oldest of the covered passages of Paris, France located in the 2nd arrondissement between the Montmartre boulevard to the North and Saint-Marc street to the south. It is one of the earliest venues of the Parisian philatelic trade, and it was one of the first covered commercial passageways in Europe. Bazaars and souks in the Orient had roofed commercial passageways centuries earlier but the Passage de Panoramas innovated in having glazed roofing and, later on, in 1817, gas lights for illumination. It was an ancestor of the city gallerias of the 19th century and the covered suburban and city shopping malls of the 20th century.
Dutch art describes the history of visual arts in the Netherlands, after the United Provinces separated from Flanders. Earlier painting in the area is covered in Early Netherlandish painting and Dutch and Flemish Renaissance painting.
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, and airbrushes, can be used.