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See also: born at See also: Aix in See also: Provence on the 14th of See also: January 1684
.
He was instructed in See also: art by his See also: father
.
Having at an early age executed several pictures for the decoration of the See also: church and public buildings at Aix, he was employed on similar
See also: work at See also: Toulon, which he was obliged to leave during the siege of 1707
.
He was patronized by the See also: prince of Carignan, who sent him to See also: Rome, where he studied under Benedetto Luti
.
Here he was much employed on church pictures, and in particular executed a greatly praised " Scourging of Christ " for St Maria in Monticelli
.
At See also: Turin he painted the duke of See also: Savoy and several members of his See also: court
.
Then, removing to See also: Paris, where he was elected a member of the French See also: Academy, he executed various altar-pieces and restored the See also: works of Primaticcio at See also: Fontainebleau
.
In 1737 he went to See also: England, where he attracted See also: attention by his portrait of Colley Cibber and of See also: Owen McSwiny, the theatrical manager; the latter, like many other of See also: Vanloo's works, was engraved in See also: mezzotint by the younger See also: Faber
.
He also painted See also: Sir Robert Walpole, whose portrait by Vanloo in his robes as chancellor of the See also: exchequer is in the See also: National Portrait Gallery (See also: London), and the prince and princess of See also: Wales
.
He did not, however, practise long in England, for.his See also: health failing he retired to Paris in 1742, and afterwards to Aix, where he died on the 19th of See also: December 1745, His likenesses were striking and faithful, but seldom flattering, and his heads are forcible in colouring
.
The draperies and accessories in his pictures were usually painted by See also: Van Achen, Eccardt and See also: Root
.
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