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[[File:Self-Portrait with a Portrait on an Easel 1623-4 Nicolas Regnier.jpg|thumb|''Self-Portrait with a Portrait on an Easel'', 1623-4]]
[[File:Self-Portrait with a Portrait on an Easel 1623-4 Nicolas Regnier.jpg|thumb|280px|''Self-Portrait with a Portrait on an Easel'', 1623-4]]
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[[File:Vanity-Nicolas Regnier-MBA Lyon 1976-7-IMG 0383.jpg|thumb|''Woman with the mirror'' or ''[[Vanity (Régnier)|Vanity]]'', c. 1626]]


'''Nicolas Régnier''' (1591–1667), alternatively '''Niccolò Renieri''',<ref>and Niccolo Renieri, Niccolò Renieri, Nicolaas Regnier, Nicolaas Renier, Nicolas Renier, Nicolas Renieri</ref> was a painter and later art dealer from the [[County of Hainaut]], a French speaking part of the [[Spanish Netherlands]], active in Italy during the [[Baroque]] period. His subjects include many groups of card-players or scenes of fortune-telling, saints, often largely nude, and scenes or female figures from classical myth. He painted [[Saint Sebastian Tended by Saint Irene]] three times, as well as a number of nearly-nude single figures of [[Saint Sebastian]] and [[John the Baptist]]. He painted [[Mary Magdalene]] numerous times.
'''Nicolas Régnier''' (1591–1667), known in Italy as '''Niccolò Renieri''',<ref>Also called: Niccolo Renieri, Niccolò Renieri, Nicolaas Regnier, Nicolaas Renier, Nicolas Renier, Nicolas Renieri</ref> was a painter and art dealer from the [[County of Hainaut]], a French speaking part of the [[Spanish Netherlands]]. He is often referred to as a Flemish artist because this term was often used to designate people from the Spanish Netherlands. After training in Antwerp, he was active in Italy where he was part of the international Caravaggesque movement. His subjects include genre scenes with card players, fortune tellers and concerts, religious scenes, saints, mythological and allegorical scenes and portraits. He also painted a few scenes with carnivals.<ref name=tribune>[http://www.thearttribune.com/Nicolas-Regnier.html Lemoine, Annick, ''Nicolas Régnier''], in: La Tribune de l'Art</ref>


==Life==
==Life==
⚫
[[File:Vanity-Nicolas Regnier-MBA Lyon 1976-7-IMG 0383.jpg|thumb|''Woman with the mirror'' or ''[[Vanity (Régnier)|Vanity]]'']]
⚫
Born in [[Maubeuge]], he initially apprenticed in [[Antwerp]] with [[Abraham Janssens]], a painter contemporary with [[Caravaggio]] in [[Rome]]. It is unclear if Régnier reached Rome in 1615 or 1621–1625. He appears to have met [[Bartolomeo Manfredi]], of whom [[Joachim von Sandrart]] calls him a follower. Régnier served as official painter to [[Marchese Vincenzo Giustiniani]], a prominent patron of [[Caravaggio]]. In Rome Régnier was also in close contact with [[Simon Vouet]]. By 1626, Régnier had moved to [[Venice]], where in addition to painting, he began dealing in antiquities and paintings. In Venice, he was befriended by [[Guido Cagnacci]]. He died in Venice.
Born in [[Maubeuge]], he apprenticed in [[Antwerp]] with [[Abraham Janssens]], a Flemish painter who had studied in [[Rome]] at the time of [[Caravaggio]] and had become one of the first Flemish followers of Caravaggio. It is unclear if Régnier reached Rome in 1615 or 1621–1625. He first visited Parma. He appears to have met [[Bartolomeo Manfredi]], an important Italian interpreter of Caravaggio. The German painter and biographerx [[Joachim von Sandrart]] calls Régnier a follower of Manfredi. In Rome he shared lodgings with the Dutch painters [[David de Haen]] and [[Dirk van Baburen]], both of whom belonged to the Caravaggesque school.<ref name=tribune/>


⚫
Régnier served as official painter to [[Marchese Vincenzo Giustiniani]], a prominent patron of [[Caravaggio]]. In Rome Régnier was also in close contact with [[Simon Vouet]]. By 1626, Régnier had moved to [[Venice]], where in addition to painting, he began dealing in antiquities and paintings. He also befriended [[Guido Cagnacci]].
==Legacy==
[[File:Nicolas Regnier La Diseuse de Bonne Aventure 1626 Le Louvre.jpg|thumb|Nicolas Regnier's ''La Diseuse de Bonne Aventure'', 1626, [[Musée du Louvre]].]]
[[File:Nicolas Régnier - Allegory of Vanity (Pandora).JPG|thumb|right|Nicolas Régnier, c. 1626, ''Allegory of Vanity - Pandora''. It shows a jar, not box.]]


Of his four daughters, Lucretia married the Flemish painter [[Daniel van den Dyck]] while Clorinda married the prominent Italian painter [[Pietro della Vecchia]] (1605-1678). The two daughters were also painters in their own right.<ref name=ivan>[http://www.artivisive.sns.it/galleria/libro.php?volume=CXVIII&pagina=CXVIII_708_242.jpg Nicola Ivanoff, ''Daniele van den Dyck''], in: Emporium, CXVIII(1953), pp. 244-250 {{in lang|it}}</ref> Régnier's half-brother was [[Michele Desubleo]], an artist working in a very similar style whose work is often misattributed to Régnier and vice versa.<ref name=tribune/>
He was the subject of an exhibition, "Nicolas Régnier l'homme libre" in [[Nantes]] (December 2017 to March 2018). Paintings by Nicolas Regnier can be seen in many museums including the [[Gemäldegalerie]] in Berlin, the [[Museum of Fine Arts (Budapest)|Museum of Fine Arts in Budapest]], [[Hungary]]; the [[Staatsgalerie Stuttgart]]; [[National Museum of Serbia]] and the [[Detroit Institute of Arts]].<ref>[http://www.dia.org/asp/search/ExecuteSearch.asp?kw=Nicolas+R%E9gnier Nicolas Régnier paintings at the Detroit Institute of Arts]</ref>
He died in Venice.

==Work==
His subjects include genre scenes with card players, fortune tellers, religious scenes and concerts, carnival scenes, portraits, saints and mythological and allegorical subjects. Together with the French painter [[Valentin de Boulogne]], Régnier is regarded as a follower of the Manfrediana Methodus, which refers to those artists who interpreted Caravaggio through the prism of Bartolomeo Manfredi's processing of the lessons of Caravaggio. Régnier's style is characterised by its pursuit of refinement and elegance, in contrast with the Northern Caravaggisti such as [[Gerard van Honthorst]] and [[Dirck van Baburen]], whose art dwells on the more earthy aspects of genre scenes. After his move to Venice, his style became even more smooth under the influence of the Bolognese painters, such as [[Guido Reni]].<ref name=tribune/>
[[File:His Renie.jpg|thumb|270px|''Fortune teller'']]

He painted [[Saint Sebastian Tended by Saint Irene]] three times, as well as a number of nearly-nude single figures of [[Saint Sebastian]] and [[John the Baptist]]. He painted [[Mary Magdalene]] numerous times.


==Selected works==
==Selected works==
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*''Marquis Vincenzo Giustiniani'' (1630)
*''Marquis Vincenzo Giustiniani'' (1630)
*''A Musician Playing a Lute to a Singing Girl'' (1621-1622), private collection
*''A Musician Playing a Lute to a Singing Girl'' (1621-1622), private collection
[[File:Régnier Carnival Scene 01.jpg|thumb|290px|''Carnival Scene'']]
*''The Penitent Magdalen'' (1650-1660), [[Birmingham Museum and Art Gallery]]
*''The Penitent Magdalen'' (1650-1660), [[Birmingham Museum and Art Gallery]]
*''Penitent Mary Magdalene'', private collection
*''Penitent Mary Magdalene'', private collection
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<br />
<br />
[[File:Nicolas Régnier - Saint Sébastien soigné par Irène et sa servante.jpg|thumb|300px|''Saint Sebastian Tended by Saint Irene'']]
[[File:Judit con la cabeza de Holofernes (Nicolas Régnier).jpg|thumb|Nicolas Regnier's ''Judith holding the head of Holofernes'', Prado Museum, Madrid.]]
<br />
<br />
== References ==
== References ==
{{reflist}}
{{reflist}}
*[http://www.wga.hu/bio/r/regnier/biograph.html Biography], Web Gallery of Art


== Further reading ==
== Further reading ==
* Lemoine, Annick, [http://www.thearttribune.com/Nicolas-Regnier.html "Nicolas Régnier"], ''The Art Tribune'' (La Tribune de l'Art).
* Lemoine, Annick, [https://openlibrary.org/b/OL21527411M/Nicolas_Régnier_(alias_Niccolò_Renieri)_ca._1588-1667 ''Nicolas Régnier (alias Niccolò Renieri) ca. 1588-1667 peintre, collectionneur et marchand d'art''], 2007, Arthena (Paris). {{ISBN|978-2-903239-37-4}}
* Lemoine, Annick, [https://openlibrary.org/b/OL21527411M/Nicolas_Régnier_(alias_Niccolò_Renieri)_ca._1588-1667 ''Nicolas Régnier (alias Niccolò Renieri) ca. 1588-1667 peintre, collectionneur et marchand d'art''], 2007, Arthena (Paris). {{ISBN|978-2-903239-37-4}}


==External links==
==External links==
{{commonscat-inline|Nicolas Régnier}}
*{{Commons-inline|Category:Nicolas Régnier|Nicolas Régnier}}


{{Authority control}}
{{Authority control}}

Revision as of 19:53, 28 March 2020

Self-Portrait with a Portrait on an Easel, 1623-4

Nicolas Régnier (1591–1667), known in Italy as Niccolò Renieri,[1] was a painter and art dealer from the County of Hainaut, a French speaking part of the Spanish Netherlands. He is often referred to as a Flemish artist because this term was often used to designate people from the Spanish Netherlands. After training in Antwerp, he was active in Italy where he was part of the international Caravaggesque movement. His subjects include genre scenes with card players, fortune tellers and concerts, religious scenes, saints, mythological and allegorical scenes and portraits. He also painted a few scenes with carnivals.[2]

Life

Woman with the mirror or Vanity

Born in Maubeuge, he apprenticed in Antwerp with Abraham Janssens, a Flemish painter who had studied in Rome at the time of Caravaggio and had become one of the first Flemish followers of Caravaggio. It is unclear if Régnier reached Rome in 1615 or 1621–1625. He first visited Parma. He appears to have met Bartolomeo Manfredi, an important Italian interpreter of Caravaggio. The German painter and biographerx Joachim von Sandrart calls Régnier a follower of Manfredi. In Rome he shared lodgings with the Dutch painters David de Haen and Dirk van Baburen, both of whom belonged to the Caravaggesque school.[2]

Régnier served as official painter to Marchese Vincenzo Giustiniani, a prominent patron of Caravaggio. In Rome Régnier was also in close contact with Simon Vouet. By 1626, Régnier had moved to Venice, where in addition to painting, he began dealing in antiquities and paintings. He also befriended Guido Cagnacci.

Of his four daughters, Lucretia married the Flemish painter Daniel van den Dyck while Clorinda married the prominent Italian painter Pietro della Vecchia (1605-1678). The two daughters were also painters in their own right.[3] Régnier's half-brother was Michele Desubleo, an artist working in a very similar style whose work is often misattributed to Régnier and vice versa.[2]

He died in Venice.

Work

His subjects include genre scenes with card players, fortune tellers, religious scenes and concerts, carnival scenes, portraits, saints and mythological and allegorical subjects. Together with the French painter Valentin de Boulogne, Régnier is regarded as a follower of the Manfrediana Methodus, which refers to those artists who interpreted Caravaggio through the prism of Bartolomeo Manfredi's processing of the lessons of Caravaggio. Régnier's style is characterised by its pursuit of refinement and elegance, in contrast with the Northern Caravaggisti such as Gerard van Honthorst and Dirck van Baburen, whose art dwells on the more earthy aspects of genre scenes. After his move to Venice, his style became even more smooth under the influence of the Bolognese painters, such as Guido Reni.[2]

Fortune teller

He painted Saint Sebastian Tended by Saint Irene three times, as well as a number of nearly-nude single figures of Saint Sebastian and John the Baptist. He painted Mary Magdalene numerous times.

Selected works

  • Allegory of Vanity - Pandora (1626), private collection
  • Cardsharps and Fortune Teller (1620-1622), Museum of Fine Arts - Budapest
  • Carnival scene (1630), National Museum, Warsaw
  • The Death of Sophonisba (1665-1667), New Walk Museum and Art Gallery, Leicester
  • Guessing Game (1620-1625), Galleria Uffizi - Florence
  • La diseuse de bonne aventure (The Fortune Teller), Nicolas Régnier (1625-1626), Musée du Louvre
  • Marquis Vincenzo Giustiniani (1630)
  • A Musician Playing a Lute to a Singing Girl (1621-1622), private collection
Carnival Scene
  • The Penitent Magdalen (1650-1660), Birmingham Museum and Art Gallery
  • Penitent Mary Magdalene, private collection
  • Portrait of Maria Farnese (1638)
  • Saint John the Baptist (1615-1620), Hermitage Museum - St. Petersburg
  • Saint Sebastian (1620), Hermitage Museum - St. Petersburg
  • Saint Sebastian (1622-1625), Gemaldegalerie Alte Meister - Dresden
  • Saint Sebastian Tended by Saint Irene, Ferens Art Gallery - Hull
  • Self-Portrait with a Portrait on an Easel (1623-1624), Fogg Museum of Art - University of Harvard
  • Sleeper Awakened by a Young Woman with a Lit Wick (also known as Fortune Telling Scene), National Museum of Fine Arts - Stockholm
  • Vanity (1626), Musée des Beaux-Arts de Lyon
  • Allegory of Vanity-Pandora, Staatsgalerie Stuttgart.[4]
  • Baptism of Christ, 1627, Church of San Giovanni Battista dei Genovesi, Rome
  • David with the head of Goliath, 1616, Palazzo Spada, Galleria Spada, Sala IV, Inventory n° 176, Roma (Attribution has been discussed, some critics considering it may be a Bartolomeo Manfredi work)
  • Judith holding the head of Holofernes[5], Prado Museum, Madrid.


Saint Sebastian Tended by Saint Irene


References

  1. ^ Also called: Niccolo Renieri, Niccolò Renieri, Nicolaas Regnier, Nicolaas Renier, Nicolas Renier, Nicolas Renieri
  2. ^ a b c d Lemoine, Annick, Nicolas Régnier, in: La Tribune de l'Art
  3. ^ Nicola Ivanoff, Daniele van den Dyck, in: Emporium, CXVIII(1953), pp. 244-250 (in Italian)
  4. ^ Vanity-Pandora by Niccolò Renieri in the Staatsgalerie Stuttgart.
  5. ^ "Judit con la cabeza de Holofernes - Colección - Museo Nacional del Prado". www.museodelprado.es. Retrieved 27 March 2020.

Further reading

Retrieved from "https://en.wikipedia.org/w/index.php?title=Nicolas_Régnier&oldid=947838665"