Nicolas Hood

Nicolas Chaperon (baptized the October 19th 1612 in the Saint-Pierre parish of Châteaudun) was a painter, draftsman and French engraver of first half of the 17th century.

Biography

Nicolas Chaperon was the son of Jehan Chapron and Marie Brissard. He was the pupil of Simon Vouet and remained with Rome as of 1642 with Nicolas Poussin. The Stati of amine announces it for the last time in Rome in 1651. In 1653 - 1655 the consuls of Lyon wanting to decorate the Town hall of Lyon make come Chaperon from Rome, but this almost dead last “estant that at once that it had arrived” they entrust the task to Thomas Blanchet.

Works

Tables

the Wish of Midas , oil on fabric, 1,00 X 1,36, Basle, Öffentliche Kunstsammlung, Kunstmuseum
the Jupiter Food], oil on fabric, 0,99 X 1,36, Chapel Hill, North Carolina, The Ackland Museum, The University off North Carolina, to see an English text on this work.
Presentation of the Virgin to the temple , oil on fabric (the top is curved), Compiegne, Chapelle Saint Nicolas's Day (old Hospital). A draft is preserved at the Museum off Fine Arts of Houston.
the Alliance of Bacchus and Venus , oil on fabric, 0,76 X 0,98, Dallas, Texas Museum off Article
Orgy , Dijon, Magnin museum.
drunk Silène , oil on fabric, 1,15 X 0,84Florence, Gallery of the Offices.
the Holy Family with Holy Elisabeth and Saint Jean-Baptiste child , oil on fabric, 1,46 X 1,20, Gosford House, the United Kingdom, Scotland, East Lothian, Longniddry, The Earl off Wemys and preparatory March drawing with the museum of Louvre, considered as allotted to Chaperon.
the Penitent Madeleine ], oil on fabric, 0.75 X 0.61, Nancy, museum of the Art schools, This table was acquired in 2006, old collection of commercial Virginia Pitchal, and before of the Charles gallery and Andre Bailly where it was catalogued in 1990 like Charles Mellin.
Brace and the snake of bronze , oil on fabric, 1,225 X 1,715, Nimes, museum of the Art schools, acquired in 1998 of the gallery Patrick Weiller, Paris.
Venus, Mercury and Cupid ] oil on fabric 1,10 X 1,34, Paris, museum of Louvre, acquired on sale public on January 26th, 2005, at Christie' S, New York, batch n° 24, for 192.000 $.
the Childhood of Bacchus , Poitiers, museum Holy-Cross, table allotted to the museum of Louvre by the Office of the Goods and Private interests in 1951; deposited in Poitiers in 1957. Copy table of the museum of Dallas.
Presentation of the Virgin to the temple , oil on fabric, 0,635 X 0,480, Rennes, museum of the Art schools.
the Flood , oil on fabric, 0,998 X 1,385, Rouen, museum of the Art schools.
Bacchus and ARIANE , nonlocalized, old collection François Heim.

Drawings

Bacchus and Midas with the source of the Gold mine , Besancon, Museum of the Art schools and Archeology.
Head of Satyr , Paris, National library of France.
Bacchus and ARIANE in the island of Naxos , Paris, 3Ecole Nationale Sup3erieure of the Art schools.
Orgy , acquired in 1793, old Saint-Morys collection, Paris, Museum of Louvre, department of graphic arts.
Study for an orgy , Paris, Museum of Louvre, department of the graphic arts, acquired in 1793, old Saint-Morys collection.
Nude woman of face , Paris, Museum of Louvre, department of the graphic arts, acquired in 1793, old Saint-Morys collections.
the Melancholy , Paris, Museum of Louvre, department of the graphic arts, acquired in 1793, old Saint-Morys collections.
the Melancholy , Paris, Museum of Louvre, department of the graphic arts, acquired in 1793, old Saint-Morys collections, another drawing.
Holy Joseph holding the Child , Paris, Museum of Louvre, department of graphic arts.
Three angels exploiting with flowers clouds , Paris, Museum of Louvre, department of the graphic arts, acquired in 1793, old Saint-Morys collections.

Engravings

Hood was famous for its engravings of the Cabins of the Vatican of Raphaël, a succession of 54 parts, published in Rome in 1649.

Copies

Presentation of the Virgin to the temple , copy painted by Jean Remained, Chalautre-the-Large.
Worship of the magi , anonymous copy of a work of Hood known by the print, Poliénas.

Critical

Like Sylvain Laveissière writes it: “… what maintained notorious the name of Hood, it is the flood of coloured invectives, worthy of a repertory of the Capitaine Haddock, which Poussin in its correspondence with Chantelou pours on this disobedient and vindicatory expert who refuses to conclude his painted copy of the Transfiguration …”

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