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GILLOT, ClaudeFrench Painter, 1673-1722
French draughtsman, printmaker and painter. He was the son of an embroiderer and painter of ornaments, who doubtless trained him before he entered the Paris studio of Jean-Baptiste Corneille about 1690; there he learnt to paint and etch. In 1710 he was approved by the Academie Royale; he was received as a history painter five years later, on presentation of the Nailing of Christ to the Cross . Although he painted other elevated subjects, including a Death of the Virgin (1715; untraced) for his native Langres, he was most active as a draughtsman and printmaker specializing in theatre and genre scenes, as well as bacchanals and designs for decorations. Gillot's principal source of inspiration was the popular theatre; he is said to have run a puppet theatre, to have written plays and once to have been in charge of sets, machinery and costume for the opera. This interest was to have a profound effect on the art of his principal pupil, Antoine Watteau
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100% hand painted, 100%
cotton canvas,
100% money back if not satisfaction.
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GILLOT, Claude
The Two Coaches shr
GILLOT, Claude1.jpg
c. 1710
Oil on canvas, 127 x 160 cm
Mus??e du Louvre, Paris
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GILLOT, Claude
Scene from the 'Master Andrew's Tomb' ddf
GILLOT, Claude2.jpg
c. 1707
Oil on canvas, 100 x 139 cm
Mus??e du Louvre, Paris
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GILLOT, Claude
Dream of Solomon dh
GILLOT, Claude3.jpg
c. 1693
Oil on canvas, 245 x 361 cm
Museo del Prado, Madrid
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GILLOT, Claude
The Two Carriages (mk05)
new6/GILLOT, Claude-269677.jpg
Canvas 50 x 63''(127 x 160 cm)A scene from the Commedia dell'arte play by Regnard and Dufresny Acquired in 1923 R.F.
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GILLOT, Claude
Morning in the Harbour
new10/GILLOT, Claude-275999.jpg
mk91
1640s
Oil on canvas
74x97
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GILLOT, Claude
French Painter, 1673-1722
French draughtsman, printmaker and painter. He was the son of an embroiderer and painter of ornaments, who doubtless trained him before he entered the Paris studio of Jean-Baptiste Corneille about 1690; there he learnt to paint and etch. In 1710 he was approved by the Academie Royale; he was received as a history painter five years later, on presentation of the Nailing of Christ to the Cross . Although he painted other elevated subjects, including a Death of the Virgin (1715; untraced) for his native Langres, he was most active as a draughtsman and printmaker specializing in theatre and genre scenes, as well as bacchanals and designs for decorations. Gillot's principal source of inspiration was the popular theatre; he is said to have run a puppet theatre, to have written plays and once to have been in charge of sets, machinery and costume for the opera. This interest was to have a profound effect on the art of his principal pupil, Antoine Watteau
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