Vouet, Simon

born Jan. 9, 1590, Paris, France

died June 30, 1649, Paris

French painter.

He formed his style in Italy, where he lived from 1614 to 1627. His early work was influenced by Caravaggio, but works done after 1620 display more idealized figures and use more evenly diffused white light. He returned to Paris in 1627 to become first painter to Louis XIII. Thereafter he won almost all the important commissions and dominated the city artistically for the next 15 years. He introduced the Italian Baroque style in France with such paintings as St. Charles Borromeo (с 1640). His late works display the soft, idealized modeling, sensuous forms, and bright colours for which he is best known.

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▪ French painter

born Jan. 9, 1590, Paris, Fr.

died June 30, 1649, Paris

 painter who introduced an Italianate Baroque style of painting into France.

      Vouet formed his style in Italy, where he lived from 1612 to 1627. The use of dramatic contrasts of light and shade seen in such early works as his “Two Lovers” indicates that he began in Rome as a follower of Caravaggio. Works done after 1620, however, such as “St. Bruno” (1620) and “Cupid and Psyche” (1637), display more idealized figures, betraying the influence of Guido Reni, Guercino, and Domenichino, who painted in the classical Baroque style of the school of Bologna. Vouet's “Time Vanquished” (1627) breaks with the tenebrism of Caravaggio, using the more evenly diffused white light that characterizes his later style.

      He returned to Paris in 1627 at the request of Louis XIII, who named him his first painter. Thereafter, Vouet won almost all the important painting commissions and dominated the city artistically for 15 years. He exercised an enormous influence with such works as “Riches” (c. 1630), which was probably part of the decorative program of the château of Saint-Germain-en-Laye. Engravings and surviving panels show that he had studied Italian illusionistic ceiling decoration; e.g., his work in the Château de Chilly is derived from Guercino's “Aurora,” and that in the Hôtel Séguier (completed c. 1640) is derived from Veronese. His other principal undertakings were in the Hôtel de Bullion and in the palace of the Cardinal de Richelieu at Rueil.

      Vouet's religious paintings of the early 1630s, such as the “St. Charles Borromeo” (c. 1640), show a developed but restrained Baroque style. The “Madonna” (c. 1640) and the “Diana” (1637) illustrate his best-known style, characterized by soft, smooth, and idealized modeling, sensuousness of forms, use of bright colours, and a facile technique.

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