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Pierre-Henri de Valenciennes
View of the Palace of Nemi.
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Landscape from the french painter Pierre-Henri de Valenciennes. View of the Palace of Nemi.
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Pierre-Henri de Valenciennes
A Capriccio of Rome with the Finish of a Marathon
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Date 1788
Medium Oil on canvas
Dimensions ? X cm
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Pierre-Henri de Valenciennes
Cicero Discovering the Tomb of Archimedes
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Date 1787
Medium Oil on canvas
Dimensions 119 x 162 cm
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Pierre-Henri de Valenciennes
Storm by a Lake
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Date 1780(1780)
Medium Oil on paper on canvas
Dimensions Height: 40 cm (15.7 in). Width: 52 cm (20.5 in).
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Pierre-Henri de Valenciennes
the Two Poplar Trees
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Date 1780(1780)
Medium Oil on paper on cardbord
Dimensions Height: 25 cm (9.8 in). Width: 38 cm (15 in).
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Pierre-Henri de Valenciennes
Storm by a Lake
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1780(1780)
Medium Oil on paper on canvas
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Pierre-Henri de Valenciennes
Valenciennes
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1780(1780)
Medium Oil on paper on cardbord
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Pierre-Henri de Valenciennes
View of the Convent of Ara Coeli with Pines
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1780s
Medium Oil on paper mounted on board
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Pierre-Henri de Valenciennes
View of Rome in the Morning
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1782(1782) and 1784(1784)
Medium Oil on paper laid on board
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Pierre-Henri de Valenciennes
(December 6, 1750 - February 16, 1819) was a French painter.
Valenciennes worked in Rome from 1778 to 1782, where he made a number of landscape studies directly from nature, sometimes painting the same set of trees or house at different times of day.He theorized on this idea in Advice to a Student on Painting, Particularly on Landscape (1800), developing a concept of a "landscape portrait" in which the artist paints a landscape directly while looking upon it, taking care to capture its particular details.Although he spoke of this as a type of painting mainly of interest to "amateurs", as distinguished from the higher art of the academies, he found it of great interest, and of his own works the surviving landscape portraits have been the most noted by later commentators. He in particular urged artists to capture the distinctive details of a scene's architecture, dress, agriculture, and so on, in order to give the landscape a sense of belonging to a specific place; in this he probably influenced other French artists active in Italy who took an anthropological approach to painting rural areas and customs, such as Hubert Robert, Pierre-Athanase Chauvin and Achille-Etna Michallon.
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