Nicolas de Largillière

• Name — Nicolas de Largillière • Birthplace — Paris, Kingdom of France • Died — 20 March 1746 • Place of death — Paris, Kingdom of France • Known for — Painter • Movement — Baroque • Baptised — 10 October 1656 • Resting Place — Church of Saint-Merri • Education — Anton Goubau, Peter Lely, Antonio Verrio • Spouse — Marguerite Élisabeth Forest • Notable Works — Self-portraits La Belle Strasbourgeoise (1703)

Largillière was baptised at the Église Saint-Barthélemy de Paris in Paris on 10 October 1656. The son of a merchant hatmaker, his family moved to Antwerp when Largillière was around three years old. Following a trip to London, Largillière's father apprenticed him to the Flemish painter Anton Goubau. However, he left at the age of eighteen and again went to England, where he was befriended and employed by Sir Peter Lely for four years at Windsor, Berkshire. While there, Largillière also worked under the direction of Italian painter Antonio Verrio.

His painting caught the attention of Charles II, who wished to retain Largillière in his service, but the controversy aroused by the Rye House Plot against Roman Catholics alarmed Largillière. He left for Paris, where he was well received by the public as a painter. Upon ascending to the throne in 1685, James II requested Largillière to return to England. James II offered Largillière the office of keeper of the royal collections, but he declined due to being uneasy about Rye House Plot. However, during a short stay in London, he painted portraits of the king, the queen Mary of Modena, and the prince of Wales James Francis Edward Stuart. The portrait of the Prince of Wales could not have been painted during Largillière's stay in London because the prince was not born until 1688. The three portraits painted by Largillière of the prince in his youth must have been executed in Paris, where he returned sometime before March 1686. The portrait of King James II was painted in 1686. King James is portrayed in golden armor with a white cravat and is positioned in front of a watercolour-like background set in a round frame.

• Illustration — Self-portrait of Nicolas de Largillierre. Engraving by François Chereau (1715). • Illustration — Study of hands (Musée du Louvre) Towards the end of his life, Largillière painted a repetition of anonymous male portraits of Parisian nobles. One example was painted in 1710, of a man standing with spread fingers that conceal a letter held in the other hand. Another portrait from about 1715 shows a frontal three quarter view of a man dressed in similar clothes and wig with a Doric column in the background. In 1714, Largillière painted King Augustus II the Strong of Poland. Largillière also painted the artist Jacques-Antoine Arlaud in a red robe in a similar fashion to Largillière's portrait of the painter Charles Le Brun, as well as the sculptor Nicolas Couston. Around the next year, Largillière painted The Study of Different Types of Hands, which currently resides in the Louvre. In 1718, Largillière painted the French poet and essayist Voltaire. The Entry of Christ into Jerusalem was a landscape painting that Largillière painted in 1720. Largillière made his last self-portrait in 1725. This portrait displays the artist at his easel staring toward the audience. Largillière was appointed as chancellor of the French Academy in 1743.

Nicolas de Largillière died on 20 March 1746 at the age of 89. Upon his death, he donated to France several small landscapes and still life pictures he had created.

• Illustration — Portrait of Elizabeth Throckmorton • Illustration — Portrait of Augustus III of Poland • Illustration — Portrait of Louise-Madeleine Bertin, Countess of Montchal • Illustration — Portrait of a Man in a Purple Robe • Illustration — Portrait of Voltaire • Illustration — Self-portrait with family • Illustration — Portrait of Marguerite de Sève • Illustration — La belle Strasbourgeoise (1703) • Illustration — Portrait of Marguerite Bécaille • Illustration — Portrait of Pierre-Joseph Titon de Cogny • Illustration — Portrait of Jeanne-Cécile Le Guay de Montgermon • Illustration — Portrait of Catherine Coustard with her son Léonor, Minneapolis Institute of Arts • Illustration — Portrait of Maria Theresia Countess of Wrbna born Countess of Kollonitz, often wrongly descripted as a portrait of French jeweller Jean-Baptiste Tavernier • Illustration — Portrait of an officer, oil on canvas, 1714–15, Art Gallery of New South Wales • Illustration — Oil on canvas portrait of Helene Lambert de Thorigny by Nicolas de Largillière (portrait) and Jean-Baptiste Belin (flowers), c. 1696–1700, 63 × 45 in., Honolulu Museum of Art • Illustration — Infanta Mariana Victoria of Spain, one-time fiancée of Louis XV • Illustration — Anne Geneviève de Lévis, duchessede Rohan-Rohan by marriage and only daughter of Madame de Ventadour • Illustration — An Alderman of Paris, 1703, oil on canvas, The Detroit Institute of Arts • Illustration — Portrait of a lady with a dog and a monkey (1700–1710) • Illustration — André François Alloys de Theys d'Herculais (1692–1779), in the Metropolitan Museum of Art • Illustration — Portrait of Thomas Germain and his wife Anne-Denise Gauchelet in 1736 • Illustration — Portrait of Barthélemy-Jean-Claude Pupil, 1729, Timken Museum of Art, San Diego • Illustration — Portrait of the Comtesse de Montsoreau and her sister as Diana and an attendant, 1714, in the Dallas Museum of Art

The authorities additionally record the headings Nicolas de Largillierre, L'Argillière, Nicolas de L'argiliere, Nicholas Largilliere and Nicolas de Argilieres. His recorded language was French. He married Marguerite Elisabeth Forest. One child is recorded: Marguerite Elisabeth de Largillierre.

Nicolas de Largillière is recorded as painter, portraitist, architectural drafter and visual artist.