Charles Joseph Natoire  (French, 1700-1777) 

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Charles Joseph Natoire, Study of a Dog

 

Charles Joseph Natoire
Study of a Dog
circa 1750

Didier Aaron
Charles Joseph Natoire, Saint Matthew and the Angel

 

Charles Joseph Natoire
Saint Matthew and the Angel
circa 1725-1729

Didier Aaron
 
Past auction results (332)  View All
Circle Of Charles Joseph Natoire, La fileuse de laine

 

Circle Of Charles Joseph Natoire
La fileuse de laine
pencil on paper

 

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Charles Joseph Natoire, Vue de l'église Santa Maria dell'Assunziote à Valmontone

 

Charles Joseph Natoire
Vue de l'église Santa Maria dell'Assunziote à Valmontone, 1765
watercolor and gouache, pen and ink w/sanguine and pencil on paper

 

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Charles Joseph Natoire, L'arrivée de Cléopâtre à Tarse

 

Charles Joseph Natoire
L'arrivée de Cléopâtre à Tarse, 1774
watercolor and gouache w/pencil

 

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  Charles-Joseph Natoire entered the Parisian studio of Louis Galloche at the age of sixteen, transferring after three years to the atelier of François Le Moyne. Winning the Prix de Rome in 1721, he arrived in Rome two years later, and lived as a pensionnaire at the Académie de France until 1728. After a period of time spent travelling around northern Italy, Natoire returned to France in 1730, when he was admitted into the Académie Royale as an associate member, rising to full membership in 1734. During the 1730’s and 1740’s he was much in demand as a painter, earning a number of significant royal, public and private commissions. Among his most important works were a series of paintings for the château of La Chapelle-Godefroy in Champagne, executed between 1731 and 1738. He also joined François Boucher and Carle van Loo in the decoration of the Hôtel de Soubise, on which he worked at the end of the 1730’s. Natoire received royal commissions for work at Fontainebleau, Versailles and Marly, as well as for designs for Beauvais and Gobelins tapestries. Appointed director of the Académie de France in Rome in 1751, he was to remain in Italy for the rest of his life. In 1756 he painted a fresco of The Glory of Saint Louis for the vault of the nave of the French church of San Luigi dei Francesi in Rome. He painted relatively little during the 1760’s, however, and much of his later Roman years were spent drawing. He encouraged the pensionnaires at the Académie to draw directly from nature, and himself produced a number of finished landscape drawings which were to have a particular influence on two of his young students, Jean-Honoré Fragonard and Hubert Robert.