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460:) but this portrait definitely shows Rigaud's influence, if not on Ranc then on an assistant in the atelier. Ranc's style was very close to that of Rigaud, but can be readily distinguished by the very slender hands and especially the sharp folds in the draperies which appear in his works; Rigaud's draperies are much softer and more malleable. Ranc's portraits show a lack of spontaneity in the depiction of the sitters, caused by an over-precise technique. Rigaud's faces are extraordinarily lifelike, however Ranc excelled in the pageantry and colour of his art.
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448:) echoes Rigaud's portrait of the five-year-old Louis (also at Versailles). The imitation is such that Ranc uses not only similar regalia, but also the heavy drape animating the scene, the column and the ermine mantle. Later, in his portraits of members of the Spanish court, Ranc would imitate Rigaud's style even more closely, but with less suppleness and vitality.
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Hoping to have a high-flying career in a country where there was no French portraitist to equal or surpass him, Ranc left for Madrid, arriving in 1724 with his five children: Antoine Jean-Baptiste, Hyacinthe, Marguerite
Elisabeth, Claude and Hyacinthe-Joseph. Two further children, Jean-Baptiste and
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Ranc made use of military posture and details drawn from Rigaud for a portrait of Daniel-François de Gélos de
Voisins d’Ambres, comte de Lautrec: the baton decorated with the fleur-de-lys, the flowing drapery, the extended hand, the tree trunk, and the battle scene. This work's attribution to Ranc
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Ranc had a close relationship with Rigaud; in addition to Ranc's being Rigaud's pupil and married to his niece, Rigaud had been a student of Ranc's father, Antoine. Ranc's style is thus considerably indebted to Rigaud's and works by him have sometimes been misattributed to Rigaud or to others. For
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Ranc "the younger" was born in
Montpellier, the son of the provincial portraitist Antoine Ranc "the elder". Antoine had a personal collection of paintings by the European masters, and received many young artists into his studio, including
197:, none of the French painters sent to Spain seemed to be making any impact. Repeated excuses were made to the French court for the low quality of the portraits sent them by the Spanish Bourbons. Philip V wrote to
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Paris, Archives
Nationales, Minutier central des Notaires parisiens, Etude XIII (Goudin, Mathieu), Liasse 184. Published for the first time by Henri Jouin, "Contrat de mariage de Jean Ranc" (1715), in
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Born 26 January 1722, known as a cornet in the dragoons of the régiment de
Numance in the Spanish army in Italy, he solicited the Académie Royale after Rigaud's death to receive some subsidies.
260:", he established a new iconography for the Spanish Bourbons. This met with the approval of Philip V, who found in Ranc's portrait of his son Charles III a good alternative to Spanish works by
213:. Rigaud was most preferred by Philip, having painted him masterfully in 1701, but Rigaud guided him towards the young artists better suited to moving to a far-off country, such as
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from
Montpellier. Raoux refused the offer and next Rigaud thought of Jean Ranc, who had married Rigaud's niece in 1715. All these transactions were aided by cardinal
401:, who had painted the latter couple in three-quarters bust. The male portrait proved to be an exact replica of Ranc's portrait of Joseph Bonnier de la Mosson at the
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Suffering from criticism by
Spaniards "who sought to do only harm to a foreigner", Ranc's stay in Spain was not at all restful. In vain he demanded the cross of the
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from 1729 to 1730 to sketch the faces of the
Portuguese monarchy. Thanks to his fashion of allying the "melting touch of Rigaud with the Castilian vehemence of
166:; Ranc was cheaper than Rigaud. On 13 June 1715 he married his god-daughter and the niece of his teacher, Marguerite Elisabeth Rigaud, daughter of the painter
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in 1721 not only to obtain a beautiful portrait of the teenage Louis XV but also to obtain a French painter worthy of this name amidst the famous triumvirate
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On the death of sieur Ranc his nephew, he had to appoint the first painter to His
Catholic Majesty, Rigaud, commissioned to choose him, sent Monsieur
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Jean Ranc then became established as a portraitist to the
Parisian bourgeoisie and produced a large number of paintings in the styles of Rigaud and
282:(Master of Royal Works), left vacant by the death of Andrea Procaccini (1671–1734). In Spain he had a long and serious dispute with his colleague
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436:) Ranc used Rigaud's vocabulary of drapery and a relaxed pose in a rural landscape. His 1719 portrait of the nine-year-old
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601:, Montpellier) – archetype of 18th century Baroque beauty, it may have inspired some of the tapestry cartoons produced by
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palace. Suffering from problems with his sight, Ranc became severely depressed, and died in Madrid in 1735, aged 61.
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Jean Ranc moved to Paris in 1696, and became the student of Rigaud, working in his studio. Ranc registered with the
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On Ranc's death, Rigaud was once again asked to choose an official painter to the Spanish court, as attested by
94:(28 January 1674 – 1 July 1735) was a French painter, mainly active in portraiture. He trained under his father
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159:(1651–1730). Despite aspirations to become a history painter, he was never received as such by the Académie.
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there, who long occupied this rank with distinction, and who is no less distinguished in this town now.
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Maria Anna Victoria of Spain, future Queen of Portugal, wearing the royal outfit of a Spanish Infanta.
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J.J. Luna, "Jean Ranc: Ideas artisticas y métodos de trabajo, a través de pinturas y documentos",
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has sometimes been questioned, and another version and its female pendant have been attributed to
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was destroyed in a fire at Christmas 1734. The fire had started in one of Ranc's rooms at the old
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on 30 December 1700, being received into it on 28 July 1703 as a portraitist for his portraits of
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Born 29 September 1720 and known as officer of the troops of Philip V of Spain in 1747
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Portrait of the painter Nicolas Van Plattenberg, known as "Platte-Montagne" (1703,
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In his 1710 portrait of Joseph Delaselle, a merchant and arms-dealer from Nantes (
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Born 30 July 1717 and known as Page to the Chamber to the King of Spain in 1747
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and his wife were wrongly attributed to Rigaud and said to represent the
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Louise Augustine Salbigothon Crozat, duchesse de Broglie, painted by Ranc
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and his wife; they came back on the Venetian art market attributed to
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Portrait of Elisabeth Farnese, Princess of Parma and Queen of Spain
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Portrait of Charles of Bourbon, future King Charles III of Spain.
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due to their artistic jealousy and desire to excel at court. The
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Portrait of Ferdinand of Bourbon (1713-1759), later King of Spain
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Ponsonailhé, "Les deux Ranc, peintres de Montpellier" in
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On the Bourbons' arrival in Spain with the coronation of
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Réunion de la Société des Beaux-arts des départements
155:, known as "Platte-Montagne" (1631–1706) and that of
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Musée de l'Histoire de France, Palace of Versailles
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Musée de l'Histoire de France, Palace of Versailles
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352:. Unsourced material may be challenged and
799:Guia de la Pintura europea del siglo XVIII
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372:Learn how and when to remove this message
71:Learn how and when to remove this message
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34:This article includes a list of general
750:(in Spanish). Museo Nacional del Prado.
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797:J.J. Luna & A. Ubeda de los Coos,
667:Burning of the Royal Alcázar of Madrid
641:Versailles, musée national du château
547:Versailles, musée national du château
385:example, when sent to auction at the
689:Nouvelles archives de l’art français
350:adding citations to reliable sources
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40:it lacks sufficient corresponding
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225:. Thus began Ranc's main career.
102:and served in the courts of both
87:Ranc, in a presumed self-portrait
886:18th-century French male artists
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434:Musée des Beaux-Arts de Nantes
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876:18th-century French painters
866:17th-century French painters
817:Catalogue of the exhibition
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391:Joseph Bonnier de la Mosson
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389:in 1993, his portraits of
252:Ranc then spent a year in
791:., 1980, p. 449–465.
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458:Musée d'Art et d'Histoire
395:President of La Mésangère
221:, then first minister to
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881:Artists from Montpellier
801:, Museo del Prado, 1997.
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541:Portrait of the painter
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106:and (from 1723 onwards)
288:Royal Alcazar of Madrid
280:Maestro de Obras Reales
240:Equestrian portrait of
153:Nicolas van Plattenberg
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55:more precise citations.
625:The family of Philip V
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411:Le Gendre de Villedieu
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299:Dezallier d'Argenville
276:Order of Saint Michael
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229:Antonia, were born in
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469:Jean Ranc's paintings
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871:French male painters
841:The Ranc family tree
821:, Madrid, 2002–2003.
595:Vertumnus and Pomona
346:improve this section
834:on artehistoria.com
748:Enciclopedia online
718:Born 21 August 1719
691:, 1887, p. 140-143.
564:of Parma as a child
284:Michel Ange Houasse
195:Louis XIV of France
709:Born 9 August 1718
440:in royal costume (
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262:Carreno de Miranda
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104:Louis XV of France
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763:Missing or empty
603:Francisco de Goya
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580:the huntress
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424:as a child (
420:Portrait of
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399:Largillierre
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387:HĂ´tel Drouot
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344:Please help
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266:portrait of
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96:Antoine Ranc
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861:1735 deaths
856:1674 births
838:(in French)
811:, XI, 1887.
805:(in French)
685:(in French)
608:The Parasol
599:Musée Fabre
407:Montpellier
403:Musée Fabre
144:from 1671.
53:introducing
850:Categories
779:References
765:|url=
605:, such as
268:Charles II
215:Jean Raoux
199:Versailles
135:Early life
36:references
832:Jean Ranc
485:in 1723 (
456:(Geneva,
333:does not
258:VĂ©lasquez
92:Jean Ranc
756:cite web
661:See also
562:Philip I
482:Philip V
438:Louis XV
422:Louis XV
362:May 2014
292:Habsburg
223:Louis XV
191:Philip V
149:Académie
545:(1703,
464:Gallery
354:removed
339:sources
203:De Troy
168:Gaspard
164:Nattier
49:improve
254:Lisbon
231:Madrid
219:Dubois
211:Rigaud
174:Madrid
130:Pomona
38:, but
789:A.E.A
673:Notes
578:Diana
446:right
314:Style
769:help
337:any
335:cite
209:and
114:Life
405:in
348:by
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