AN EXHIBITION OF BY FRENCH PAINTERS OF THE XVIII CENTURY r ON BEHALF OF THE FUNDS OF Ubc arU 0 t 0 ’ General Benevolent Snotttutlon ON VIEW AT THE GALLERIES OF MESSRS. |dU VEEN BROTHERS 21, OLD BOND STREET LONDON, W. May, 1906 MASTERPIECES BY FRENCH PAINTERS OF THE XVIII CENTURY Digitized by the Internet Archive in 2015 https://archive.org/details/exhibitionofmastOOduve AN EXHIBITION OF MASTERPIECES FRENCH PAINTERS OF THE XVIII CENTURY c:be Hrtists’ (Bencral Benevolent Jnstttutlon ON VIEW AT THE GALLERIES OF MESSRS. DUVEEN BROTHERS 21, OLD BOND STREET LONDON, W. BY ON BEHALF OF THE FUNDS OF May, 1906 CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. TOOKS COURT, CHANCERY LANE, LONDON. INDEX OF PAINTINGS PAGE 1 . Portrait of Marie Antoinette .... 2. Portrait of Madame La Baronne Rigoley d’Ogny 3. Portrait of Madame la Comtesse le Brag . 4. Portrait of Mademoiselle Sophie de Grivel 5. A “ F^:te Champetre 6. Portrait of Madame la Comtesse de Dompierre d'Hornoy ........ 7. Le Billet Doux 8. Portrait of Madame Denis 9. “ Le Reve de l’ Artiste’' 10. Portrait of Mademoiselle Annette de Grivel . 11. I. Portrait of Mademoiselle Rosalie Duthe 2. Portrait of Mademoiselle Guimard . 12. Portrait of THE Comte DE Grivel 13. A “ Pastorale” 14. Portrait of Lady Fitzgerald . . . . 1 5. Portraits of “ La Famille de Bourbon-Conti ” . 16. Portrait of Madame la Princesse de Conte 17. A '' F^te Champetre” 9 10 1 1 12 13 14 15 16 17 18 19 19 20 21 22 23 24 25 6 INDEX OF PAINTINGS PAGE 1 8. Portrait of Madame de Torcy . . . .26 19. Portrait of Mademoiselle de Fries . . *27 20. An Oval Picture of a Young Girl . . .28 21. Portrait of Madame la Duchesse de Narbonne . 29 22. A “ Jeune Femme couchee sur un lit de Repos ” . 30 23. Portrait of the Duchesse de ChAteauroux . .31 24. La Douleur representee par une jeune Fille’' 32 25. Portrait OF Madame DE Flavacourt . . *33 26. Portrait of Madame la Comtesse du Barry . 34 27. Portrait of Madame du Plessis . . . -35 28. La Comedie Italienne 36 29. Jeune Femme Endormie. ... • • 37 30. Portrait of the Comte de Noirmont . . *38 INDEX TO PAINTERS Boucher, Francois .... PAGE • 39 Drouais, Francois- Hubert . . . 41 Fragonard, Jean- Honors . ' 43 Greuze, Jean- Baptiste. . . . 46 Lancret, Nicolas .... . . . 48 Largilli^re, Nicolas de . . . . 51 Nattier, Jean-Marc .... • 54 Pater, Jean-Baptiste- Joseph • 57 Van Loo, Charles-AndrL . • 59 VigLe-Lebrun, Madame . 61 Watteau, Jean- Antoine . 64 All the Exhibits are for sale. MASTERPIECES BY FRENCH PAINTERS I PORTRAIT OF MARIE ANTOINETTE The Queen is represented in natural size and full length, sit- ting at a table on which stand a vase of flowers with a spray of lilac at the foot, and the royal Crown placed on a cushion embroidered with golden fleurs-de-lis. The Queen wears a white satin robe bordered with fur, a low-necked royal blue velvet corsage and train, and hat of the same material trimmed with white feathers and aigrette fastened with a jewelled clasp. Her left arm rests on a red velvet cushion fringed with gold, and in her right hand she holds a book with red and gold cover. The background is formed of two columns on the left and a green velvet curtain on the right; through a window at the back is seen a glimpse of natural sky. On the foreground is a richly flowered carpet. Painted by Madame Vigee-Lebrun for the Comte d’Artois, this portrait belonged successively to the Due de Berry, and the Comte de Ginestous of Montpellier, to whom it was presented; it afterwards passed into the possession of the Marquis de Saporta of Aix in Provence, a son-in-law of the Comte de Ginestous. Mentioned in the ‘‘ Souvenirs de Mme. Vigee-Lebrun, year 1783,’^ p. 301. 10 MASTERPIECES BY 2 PORTRAIT OF MADAME LA BARONNE RIGOLEY D’OGNY Represented as Flora, riding on clouds. Seen three-quarters to the left, full length. Lightly dressed in ‘ a very low-cut white robe, and holding a blue drapery on which flowers are spread. The pose is remarkably graceful and easy, and the flesh tones admirable. Hair slightly powdered and dressed simply with a string of pearls and a small spray of rosebuds. Cloudy sky background. La Baronne Rigoley d’Ogny, nee Elizabeth d’Alence, was the second daughter of Danis dAlence, a captain in the Rouergue regiment, and Marie- Anne Pernet. She married, in 1748, Jean Rigoley, Baron d’Ogny, 1725-1793, Conseiller General of the Parlement of Dijon, Treasurer of the State of Burgundy, Director of the Postal Service in 1 770, and Postmaster-General in 1787. The picture comes from the descendants of the family. Signed and dated Nattier, 1752. FRENCH PAINTERS II 3 PORTRAIT OF MADAME LA COMTESSE LE BRAG Allegorically represented as Dawn, reclining on clouds and with the morning star shining over her head. Seen three- quarters to the right, full length with the lower part of her figure entirely draped in a long flowing light mauve mantle. Her loose white dress is retained with rows of pearls round the arms and waist; in her left hand she holds a torch symbolical of the rising sun, and with her right arm supports herself in an easy and natural attitude. Her powdered curly hair is brushed back and held with a row of pearls. Misty sky background. Signed and dated Nattier, 1741. From the collection of M. L. Gouldschmidt. 12 MASTERPIECES BY 4 PORTRAIT OF MADEMOISELLE SOPHIE DE GRIVEL, DAUGHTER OF THE COMTE DE GRIVEL, PRESIDENT AU PARLE- MENT DE BOURGOGNE Half length, seen three-quarters to the left. In rich buff, gold-embroidered dress with jewelled corsage fastening and belt, and red ^velvet cloak partly thrown back. Her dark, elaborately dressed hair is held by a string of pearls and a jewelled comb with pearl pendant. The background is formed of a soft grayish-green drapery with marble columns on the right. Painted by Largilli£:re. From the de Griveh family. FRENCH PAINTERS 13 5 A ^^FETE CHAMPETRE" The composition consists of nine figures, the principal group is formed of a gentleman playing to a lady seated by his side, and a male figure apparently watching them from behind; on their right is the figure of a man offering flowers to a woman, on their left another couple engaged in sentimental conversation; on the extreme right and left of the picture are the figures of children each accompanied by a dog. A fount- ain surmounted by two cupids stands behind the central group ; tall trees occupy the right, and distant buildings the left, of the landscape background. Painted by Pater, Formerly the property of Lady Rosamund Christie. 14 MASTERPIECES BY 6 PORTRAIT OF MADAME LA COMTESSE DE DOMPIERRE D’HORNOY DE FONTAINES, NIECE OF VOLTAIRE Represented full face, sitting at a table and holding a draw- ing crayon in her right hand, and with her left a closed sketching portfolio. In blue woollen and fur dress trimmed with white lace. Wearing a fur collar and white collarette with laree cravat falling over her bosom. Powdered hair simply dressed with small brown feather, and bow of pink ribbon. Dark gray background with brownish curtain on the left. Painted by Drouais. This picture was formerly in the Chateau de Dompierre d’Hornoy, the property of Monsieur Dompierre d’Hornoy. FRENCH PAINTERS 15 7 LE BILLET DOUX This well-known picture represents a young girl sitting at her writing-table. Seen three-quarters to the left, almost in profile, her eyes are turned towards the spectator, and shine with a mischievous look, indicating her fear of being sur- prised in the act of inserting inside a bunch of flowers a love-letter, held in her right hand. She is dressed in a pale blue dressing-gown shot with brown, which completely envelops her in its ample folds ; lying on her chair her little white-haired dog also seems to be on the watch. A large window admits a flood of light without disclosing the outer world. The tone of the whole composition is warm and harmonious, and the work is justly considered as the master- piece of the artist. Painted by Fragonard. * From the collection of M. E. Cronier of Paris. i6 MASTERPIECES BY 8 , PORTRAIT OF MADAME DENIS NIECE OF VOLTAIRE Viewed full face, sitting at a table on which rests her left arm, and holding a half-open book with her right hand. In low- necked blue dress with large check pattern, trimmed with gold lace. Hair powdered, brushed back, and caught up in a small white and blue cap. Plain background shaded brown to greenish-gray. Painted by Van Loo. FRENCH PAINTERS 17 9 REVE DE UARTISTE" This composition represents a painter who, having fallen asleep in his studio, sees in a dream visions of various subjects for pictures. On the right a “ Fete Champtoe,” and con- fusely mingling with it, pierrots and other personages of comedy ; in the foreground a group of four men in different characters and costumes holding each other by the hand and dancing; and above, floating in the sky, an allegorical scene composed of a female figure attended by six cupids. She holds in her right hand what is probably intended for the olive branch, symbolical of peace. Conventional background of trees and clouds. Painted by Pater. From the collection Bousson de la Barre. c i8 MASTERPIECES BY lO PORTRAIT OF MADEMOISELLE ANNETTE DE GRIVEL, SECOND DAUGHTER OF THE COMTE DE GRIVEL, PRESIDENT AU PARLEMENT DE BOURGOGNE. Represented half length and facing the spectator. In buff- coloured dress richly embroidered with silk and gold, wearing a string of large pearls round her waist, and corsage bordered with pearls with sapphire cabochon in the centre. Her figure is picturesquely wrapped up in an ample olive-green silk cloak. Hair fully powdered and elegantly dressed with white feathers fastened with a ruby clasp. \ » Painted by LARGiLLikRE. From the de Grivel family. r " FRENCH PAINTERS 19 II A PAIR OF OVAL PORTRAITS I. PORTRAIT OF MADEMOISELLE ROSALIE DUTHE, the Opera Dancer, 1752-1820. Represented full face, with her right arm resting on a blue cushion. She wears a plum-coloured silk dress edged with lace, and a white gauze veil over her powdered fair hair. Dark gray background. Painted by Fragonard. The portrait of the celebrated dancer who was the mistress of the Comte d'Artois, and whom Larousse describes as “ fair, with an angelic and fresh-complexioned face ” ; was formerly in the collection of Baron Arthur de Rothschild. 2. PORTRAIT OF MADEMOISELLE GUIMARD, celebrated Opera Dancer, 1743-1816. Represented full face, her head bent to the right, her right arm resting on a blue cushion. She wears a yellow silk decollete dress and a red silk corsage edged with lace. Her fair hair is caught in a red ribbon. Warm gray background. Painted by Fragonard. From the collection of Baron Arthur de Rothschild. Illustrated in J. J. Foster s “ French Art,” vol. ii. 20 MASTERPIECES BY 12 PORTRAIT OF THE COMTE DE GRIVEL PRESIDENT DU PARLEMENT DE BOURGOGNE Represented three-quarter length, seated, and facing the spectator. His right hand rests on his toga placed on a table beside him, and his left grasps the arm of his chair. Fully dressed in robes of office, profusely trimmed with furs, a large ermine collar; and wearing a full-bottomed wig. Painted by LARGiLLii:RE. The family of de Grivel was celebrated for its magis- trates, and the grandson of the subject of this portrait was the famous Jean Grivel, an officer in the Navy, who was illus- trious during the Napoleonic Wars. FRENCH PAINTERS 21 13 A PASTORALE" Oval picture representing a female child in the character of a shepherdess. Seated on the step of a fountain, out of which she is taking water with an earthenware saucer. Her hat, gourd, and crook lie on the ground, and her right hand holds a bunch of flowers. Clad in a red dress drawn back from the knees, showing a yellow under-skirt. Background formed of a clump of trees on the right against a pleasant summer sky. Painted by Boucher. 22 MASTERPIECES BY 14 PORTRAIT OF LADY FITZGERALD Viewed full face, represented in the character of Juno. Dressed in Oriental costume, in a white garment with golden- yellow sash and a brown cloak thrown over her left arm. Her dark wavy hair is slightly powdered, and dressed with a yellow band ornamented with pearls, and with a gauze veil of the same colour falling over her right shoulder. On her right is the peacock. The background is a conventional sky. Painted by Madame Vigee-Lebrun. From the collection of the Marquis d’Argence. FRENCH PAINTERS 23 15 PORTRAITS OF LA FAMILLE DE BOURBON-CONTI" A COMPOSITION of six figures in the classical style of this period. In the foreground a gentleman in the act of assisting a lady to her feet, who is represented as seated on the lawn, and apparently playfully resisting him. On the left a group formed of two ladies in white dresses, and two young girls in pink and blue robes, one holding a small dog on the leash. In the distance a shepherd and shepherdess tending sheep. Painted by Lancret. From the family of the Comtesse d’Hautpoul, a de- scendant of the Bourbon-Conti family. 24 MASTERPIECES BY 1 6 PORTRAIT OF MADAME LA PRINCESSE DE CONTE Represented as a jardiniere. Viewed three quarters to the left, in blue and white dress, sitting on a rock by the side of a stone balcony. Her left hand holding some flowers in her lap. Her powdered hair adorned with a spray of cornflowers. Rocky landscape background with sunset sky. Signed and dated Drouais le fils, 1767. FRENCH PAINTERS 25 17 A “F6tE CHAMPIETRE” An elaborate composition of fifteen figures assembled in ornamental grounds. The central group is composed of a lady and children, a page in front of her is holding a basket of oranges, and behind her is a male figure playing the flute. On the right is a lady on a swing attended by a gentleman, with two children in front of them gathering flowers. On the left is a group composed of a lady and gentleman in rich dress, accompanied by a dog. On the foreground lies a guitar. The background consists of a clump of trees, partly hiding a stone fountain, and standing against a blue cloudy sky. Painted by Pater in 1720. From the collection of M. L. Gouldschmidt. D 26 MASTERPIECES BY i8 PORTRAIT OF MADAME DE TORCY Represented half length, three-quarters to the left, in white satin dress and mauve cloak or sash, thrown over her right shoulder. The point and edge of her corsage are trimmed with pearls, a string of which also fasten her sleeves above the elbow. Her hair powdered and simply dressed, adorned with a spray of cornflowers. Landscape background with blue sky. Signed and dated Nattier, 1749. FRENCH PAINTERS 27 19 OVAL PORTRAIT OF MADEMOISELLE DE FRIES Daughter of Madame la Comtesse de Fries, widow of the famous Vienna banker, and friend of Madame Vigee-Lebrun, who painted this portrait en souveniT of her stay at Vienna. The artist has represented her, half length, in the character of “ Sapho,” holding her lyre, and in the act of singing. Dressed in a loose-fitting white gown, with sash and border of yellow silk. Her hair is unpretentiously dressed and caught in a white silk riband. Background of shaded blue. Painted by Madame ViGfiE-LEBRUN. 28 MASTERPIECES BY SMALL GALLERY 20 AN OVAL PICTURE Representing a young girl sitting at the foot of a tree with a basket of flowers at her side, and holding in her right hand a spray of roses, which she has just taken from the basket, her left arm resting on her lap. Dressed in a light mauve frock with buff-coloured sleeves, and red petticoat. Wooded landscape background, and cool blue lightly clouded sky. Signed and dated Boucher, 1760. FRENCH PAINTERS 29 21 PORTRAIT OF MADAME LA DUCHESSE DE NARBONNE Represented three-quarter length, seated and playing the gui ar. Dressed m low-necked white satin robe, trimmed with wifh 6'iibtoidery and pearls, and a light mauve cloak, with a spray of flowers on her left shoulder. Viewed three- quarters to the right, hair slightly powdered and brushed back, and dressed with a spray of flowers and pearl aigrette. Painted by Van Loo. ant Jtrn ^ collection of the Comte de Maleissye, descend- ant of the Duchesse de Narbonne. 30 MASTERPIECES BY 22 A ‘^JEUNE FEMME COUCHEE SUR UN LIT DE REPOS” The picture represents a young woman reclining on a blue- covered couch, her left hand holding her pearl collar, and the right hand resting on a cushion. On a low stool close to the couch are a perfume-burner and a jewel case. Dressed in a white gown partly hidden by a i^ed wrapper drawn over her. Background formed of a blue drapery against a white panelled interior. ^ Signed and dated Boucher, 1739. ^ ^ From the Rothan collection. Engraved in the work on Fran9ois Boucher by Paul Manz. e \ \ \ I FRENCH PAINTERS 31 23 OVAL PORTRAIT OF THE DUCHESSE DE CHATEAUROUX Represented as the allegorical figure of “ L’Aurore.” In a loose white gown strapped over the right shoulder. Viewed three-quarters to the right, her slightly-powdered chestnut hair brushed back and without ornament, the morning star is shining above her head in a neutral gray sky. Painted by Nattier. From the collection of the Due de Mouchy. 32 MASTERPIECES BY 24 “LA DOULEUR REPRESENTEE PAR UNE JEUNE FILLE” A YOUNG girl represented leaning on the back of her chair in an attitude of despair. In white gown, with mauve scarf thrown over her left arm; light auburn hair caught up with a red ribbon, and dressed with a white veil falling over her right arm. Presumed portrait of a niece of the artist. Painted by Greuze. FRENCH PAINTERS 33 25 OVAL PORTRAIT OF MADAME DE FLAVACOURT Represented full face as the allegorical figure of Le Silence,” in low-cut white gown and brown-red cloak strapped over her left shoulder; slightly powdered dark chestnut hair simply brushed back without ornament. N eutral painted sky with conventional moon crescent over her head. Painted by Nattier. From the collection of the Due de Mouchy. e 34 MASTERPIECES BY 26 OVAL PORTRAIT OF MADAME LA COMTESSE DU BARRY, FAVOURITE OF KING LOUIS XV The Comtesse is represented full face, clad in a white low-necked dress with blue sash, her sleeves caught up in a string of pearls ; she wears a garland of roses as a shoulder belt. Her slightly powdered hair falls in graceful ringlets about her back and shoulders and is adorned with a small wreath of roses. Plain warm gray background. This portrait is one of the very rare ones of the Comtesse taken from nature. It was exhibited at the Paris Salon in the year in which it was executed. Signed and dated Drouais, i 769. FRENCH PAINTERS 35 27 PORTRAIT OF MADAME DU PLESSIS In the allegorical figure of “ Le Source”; represented in three-quarter length and viewed three-quarters to the right, dressed in a light brown robe, gray corsage embroidered with silver, with white muslin ruche and sleeves. A pale green cloak is thrown over her right arm, which is resting on an urn from which water is flowing over lilies in the foreground, on the left of the picture. Autumnal background with dark cloudy sky. Painted by LARGiLLifeRE. From the Du Plessis family. 36 MASTERPIECES BY 28 LA COMEDIE ITALIENNE Decorative painting of a stage crowded with personages representing the various characters in Italian comedy. The ornamental structure and accessories to the picture are partly the work of Lajoue. Painted by Watteau. FRENCH PAINTERS 37 29 JEUNE FEMME ENDORMIE Oval picture representing a figure of a young woman reclining on a couch, with her head resting on a brown cushion; clad in a loose open w^hite gown. Her light brown hair is plaited and dressed with a bright red ribbon. Warm background of brown draperies. Painted by Watteau. From the collection of General Buller. 38 MASTERPIECES BY FRENCH PAINTERS 30 PORTRAIT OF THE COMTE DE NOIRMONT In three-quarter length. In embroidered brown coat with red velvet cloak picturesquely draped around him. Viewed full face and wearing a full-bottomed powdered wig and lace necktie; represented standing against a fluted column, his left arm resting on a low wall, his right hand on his hip, and evidently in the act of speaking. Landscape background. Dark cloudy sky. Painted by Largilli^re. BIOGRAPHICAL NOTICES OF FRENCH PAINTERS BOUCHER, FRANgOIS 1703-1770 Francois Boucher was born at Paris 29th September, 1703. The rare disposition which from an early age he showed for painting gained him admission into Le Moine’s studio, where his short stay of a few months only is all the more surprising that the traditions of Rubens kept up by the Master ought to have captivated his vivacious and impulsive imagination. Thence he took up his abode with the engraver Cars for whom, at the age of eighteen, he composed the numerous designs afterwards engraved for the illustration of Daniels “ Histoire de France,” concurrently with which work he executed many engravings after Watteau, for whom he had the greatest admiration. Two years later he obtained the “grand prix ” which entitled him to go to Rome, but the Due d’Antin, the superintendent of the Royal buildings, retained him in Paris, and it was only two years later that he made his journey to Italy, where, contrary to what has been said by purists who disapproved of his subjects, he certainly atten- tively studied Titian, Correggio and Giorgione, whose style of composition and skill in grouping he fully equals, while. 40 BIOGRAPHICAL NOTICES as a colourist, his palette in many an instance recalls their most brilliant harmonies. On his return from Italy Boucher, preceded by an already established reputation, soon formed a rich clientele among Society, the world of finance and women of fashion, and acquired all at once fortune and celebrity. He was elected to the Academy in 1734, and thirty years later received the title of first painter to the King. Although Boucher was fond of saying that marriage was not in his line, he, nevertheless, married, and had three children, a son, who became an archi- tect, and two daughters, one of whom married the painter Deshays, the other the talented miniaturist Beaudoin. Boucher, much worn out by work as well as by a life of pleasure, died in Paris on 30th May, 1 770, at the residence which, as the King’s painter, he occupied in the Palais du Louvre. The Louvre possesses, among other works by him, “ Venus commandant des armes pour Enee,” dated 1732, a magnificent painting; the figures, which are of natural size, are excellently drawn, and their grace, though conventional, is almost un- paralleled, the colouring is dazzling with light, refined, varied, and transparent. The “Bain de Diane” is a true pearl: it bears the date 1742. Boucher’s paintings were engraved by all the artists of his time, Mme. de Pompadour herself has etched many of her favourite master’s pastorales. Boucher himself is the author of a large number of engravings, all of which are now in the “Bibliotheque Nationale” in Paris. OF FRENCH PAINTERS 41 DROUAIS, FRANCOIS-HUBERT 1727-1775 Drouais was born at Paris on 14th December, 1727. After being initiated into the principles of his art by his father, he successively studied under Nonnotte, Carl Van Loo, Natoire, and Boucher. On the production of the portraits of the King’s sculptors, Coustou and Bouchardon, he was elected member of the Academy, 25th November, 1758. Both were exhibited in 1759. The first-mentioned portrait is now at the Ecole des Beaux- Arts, and the second at Versailles. He was subse- quently appointed the King’s first painter, and on 2nd July, 1774, was raised to the dignity of Councillor of the Academy. He had the honour of painting the portraits of the whole of the Royal Family and of most celebrities and beauties of the period. He exhibited at the Paris Salon from 1755 to the year of his death in 1775, chiefly portraits of exalted personages. The Louvre possesses the portraits of Charles- Philippe of France, Comte d’Artois, afterwards King Charles X, and his sister, Marie- Adelaide-Clotilde of France, afterwards Queen of Sardinia, aged six and four respectively. The Orleans Museum contains a portrait of La Marquise de Pompadour F 42 BIOGRAPHICAL NOTICES and a “ Portrait de jeune homme.” The Museum of Mar- seilles has a painting entitled “ Portrait d’un ancien magistrat de cette ville avec ses deux enfants,” and the Amiens Museum a “ Portrait du Dauphin de France (Louis- Joseph-Fran9ois), fils de Louis XVI/' Orleans possesses a “ Portrait de Mme. de Pompadour,” and the “Jeune homme vetu a TEspagnole et jouant de la mandore,” of which Diderot said, “ it is certain that he is charming in character, face, and attire, and that if a youth of that age and like him were to appear in the Palais- Royal or the Tuileries, he would attract the eyes of all our ladies, and that in church no woman, however devout, could help being disturbed by his sight. Drouais died in Paris, 21st October, 1775. OF FRENCH PAINTERS 43 FRAGONARD, JEAN-HONORE 1732-1806 Jean-Honore Fragonard was born at Grasse in Provence, in 1732. On his leaving school his father articled him to a notary, but he soon left and began to attend the drawing schools. He received lessons from Chardin, Vanloo, and Francois Boucher successively, but it was the latter who had the most decisive influence over him. The master, struck by the marvellous natural aptitude and the indomitable courage of a pupil who would work fifteen hours a day, favoured him with special attention, and the result was that Fragonard soon gained the “ Grand Prix de Rome,” and went to Italy. On his return, determined to become an Academician, he executed his “ Coresus et Callirhoe,” a work of inspiration which secured his unanimous admission to the Academy in 1765. Diderot made a pompous eulogium of the work, and Fragonard soon had the satisfaction of seeing the richest amateurs resort to his studio, when one of them, the Due de Grammont, commissioned him to execute a “Visitation de la Vierge,” a kind of subject which was not quite congenial to him, yet, unable to refuse, the artist set to work, but the conditions under which the previous picture had been pro- 44 BIOGRAPHICAL NOTICES duced no longer existed; the artist was dissatisfied, and re- solved to modify his manner; he then commenced a series of pictures representing scenes of love and voluptuousness which soon made him the painter in fashion. Such were the “ Serment d’ Amour,” a little marvel of composition, inten- tion, and movement, “ Le Verrou,” “ La Culbute,” and others, which, it must be admitted, shone more through their humorousness than through their decorum. By a piquant contrast Fragonard gave as companions to his “ Instant Desire” his “ Heure du Berger,” and works in the same spirit, such scenes as “Jeune Mere,” “ Heureuse Fecondite,” and “Famille du Berger,” in the style of Greuze, and probably inspired by that artist’s success. But he above all excelled in compositions where he could freely unite fancy and volupty, as, for instance, in his decorations for apart- ments such as he executed for his friend the famous dancer, Marie Guimard, and for Mme. du Barry. He also left a series of original designs in sepia, and copies after Italian masters which show incomparable life and spirit. Deprived of his elegant clients by the Revolution, Fragon- ard left Paris in 1794 and took up his residence at Grasse with his friend, Maubert. There he spent several years, chiefly occupied in decorating his friend’s mansion with com- positions dazzling with all the grace and charm of bygone times. He returned to Paris at the beginning of the nine- teenth century, where he died shortly after. Fragonard is OF FRENCH PAINTERS 45 one of the artists of the eighteenth century who personify with most spirit, colour, and licence what is called rancien rigime. The Gallery La Gaze in the Louvre, and the museums of Lille, Rouen, Besangon, Nantes, Tours, Avignon, all possess interesting Fragonards; yet some of the most important are in private collections such as “ Le Billet doux ” and “ La F^te de Saint-Cloud,” another capital piece which belongs to the Bank of France. 46 BIOGRAPHICAL NOTICES GREUZE, JEAN-BAPTISTE 1725-1806 Jean-Baptiste Greuze was born at Tournus on 21st August, 1725. He showed, from his boyhood, an irresistible passion for drawing, neglecting all other studies in order to indulge it. His father intended him to be a business man, but as neither en- treaties nor threats availed, he at last allowed his son to follow his inclination and placed him with the painter Grombon, who took him to Lyons and gave him gratuitously such a thorough instruction that he was soon able to paint excellent portraits. He later on accompanied his master to Paris, where he at once commenced a course of studies from nature at the “ Ecole Royale,” and made himself master of his art solely through his own exertions. His first picture, “ Un pere de famille expliquant la Bible a ses enfants,” was so superior a work that no one could believe that Greuze was its author; however, subsequent productions, which were still more remarkable, thoroughly removed all doubts, and firmly established his reputation. Introduced by Pigalle, he was made an Associate of the Academy on 28th June, 1755, on the presentation of “ LAveugle trompe.” The Abbe Gouguenot soon after took OF FRENCH PAINTERS 47 him to Italy; the voyage, which fortunately was of short dura- tion, nevertheless slightly altered his powerful personality, but through great efforts he succeeded in regaining his former and unique originality. After a delay of several years, Greuze at last executed his piece of reception, “ L’empereur Severe reprochant a Cara- calla, son fils, d’avoir voulu Fassassiner.” This picture excited much jealousy, and in order to minimize his merit, envious rivals managed to have him elected to the Academy under what he considered the too modest title of “ Peintre de genre.” His dissatisfaction caused him to cease exhibiting until after the Revolution. His almost innumerable works have been reproduced by all the engravers of his time. He died at the Louvre, 21st March, 1806. 48 BIOGRAPHICAL NOTICES LANCRET, NICOLAS 1690-1743 Nicolas Lancret was born in Paris, 22nd January, 1690. He at first devoted himself to engraving, and later received lessons in painting from Pierre d’Ulin Gillot, where he had for fellow student Watteau, whose friend he became and whose manner he so far assimilated that in a public exhibition one of his pictures was attributed to Watteau. Lancret made his cUbut with a “ F6te galante,” which met with great success, and he soon became one of the painters of his time whose works were most sought after. In 1719 he was elected a member of the Academy with the title of “Le Peintre des fetes galantes,” which Watteau had borne before him, and became the King’s painter. His works are extremely cheerful and pleasing; even though they may not exhibit in the same degree the poetic and sentimental feeling of Watteau’s, they all are characterized by great truth and nature, their composition and execution are excellent, his groups of figures well disposed and agree- ably turned, and his whole work handled with a light and vivacious pencil. The warmth and harmony of the artist’s colouring, the elegance of his costumes, the beauty of his OF FRENCH PAINTERS 49 foliage, and the luminousness of his backgrounds are sur- prising. We may mention among his works the Elements,’’ the “Quatre Parties du Monde,” “Les Cinq Sens,” the “ Douze Mois de I’Annee,” the “ Marmotte en Vie, pour le Chateau de Jouy.” The Marquis of Beringhen, premier ecuyer du Roi, wishing to adorn his fine Chateau de Jouy, asked Lancret to paint in his drawing-room the “ Quatre Elements ” ; as a man of wit Lancret took care not to indulge in dull allegory or to resort to commonplace traditional attributes. Being a man of his time, he knew that the age of Louis XV did not waste much attention on symbols, so Water was represented by a bathing scene; Fire, by a conversation by the fireside; and Air by a marquise on a swing, with her satin robe the sport of the fluid element. Yet in these sprightly subjects, Lancret never went beyond a legitimate limit, but touched them lightly, and never unduly intensified their meaning. Affable, courteous, and of pleasant company, he never allowed himself to be seduced by the prospect of gain; once being asked to touch up an old painting so as to make it saleable, he replied, “ I prefer running the risk of painting bad pictures to spoiling good ones.” Among his well-known works are “ La Conversation Galante,” a subject treated several times, “ Le Repas Italien,” “ Le Jeu de Colin-Maillard,” “Miles. Salle et Camargo dancing in a garden and surrounded by musicians, etc.” Lancret died in Paris in 1743. The collections of G 50 BIOGRAPHICAL NOTICES Frederic II, which figured in the exhibition of 1900, contain no less than twenty-six Lancrets, some of which can compare with the finest paintings by Watteau. Almost every one of his works has been engraved. OF FRENCH PAINTERS 51 LARGILLIERE, NICOLAS DE 1656-1746 LargilliMe, surnamed the French Van Dyck, was born in Paris in October, 1656; but a few years after his birth the family moved to Antwerp, where Largilliere’s father had settled as a merchant. When nine years old he accompanied his father on a journey to England, and remained in that country for about a year and a half in order to acquire a commercial training, but as he would only apply himself to drawing he was placed, on his return to Antwerp, with Antoine Goebauw, who taught him fruit, flower, landscape, and animal painting with such success that, at the age of eighteen, his master declared that he had nothing more to teach him; however, Largilliere, who had higher aims, resolved to pay a second visit to England. Having come to London at the beginning of 1675 he had the good fortune to gain the friendship of Sir Peter Lely, who recommended him to King Charles II, for whom he painted several pictures during his stay, the King also employed him in restoring pictures by Old Masters at Windsor. However, the intolerance from which Roman Catholics suffered at the time caused him to repair to France in 1678. In Paris he met with Van der Meulen, 52 BIOGRAPHICAL NOTICES Louis XIV’s battle-scenes painter, and Le Brun, both en- couraged him, procured him commissions, and finally induced him to settle in that city. From that time he executed a con- siderable number of portraits among the nobility and Society generally; though he took up as well a great variety of subjects: he produced historical and genre paintings, land- scapes, fruit, flowers, and animals, all of which he composed with extreme facility, and executed with invariable success. Louis XIV sat to him for his portrait, as also did James II and his Queen, Mary of Modena, whose portraits, and that of the infant Prince of Wales, he painted during his third and last visit to England in 1685. His reputation was now firmly established, and he became a member of the Academy of Painting in 1686. His works are remarkable for their truthfulness of colouring, freshness of tone, surprising lightness of touch, and accuracy of design; his ample and supple draperies are skilfully disposed. Although he specially excelled in portraying ladies, whose features, character, and grace he rendered with rare happiness, all his portraits are characterized by an artistic finish of the heads and hands worthy of the greatest masters. His tint was not only clear and fresh, but his manner of laying the colours without breaking or torturing them has caused them to retain all their original freshness and beauty. These productions are estimated at about fifteen hundred, a large number of which were engraved by Drevet, Edelinck, Desplaces, OF FRENCH PAINTERS 53 Vermeulen, and Van Schuppen; among them the following portraits maybe mentioned: Louis XIV, Cardinal de Noailles, Colbert, Archbishop of Toulouse, Huet, Bishop of Avranches, Claude Bourdaloue, Charles Lebrun, Van der Meulen, Mile. Duclos, Forest, Lambert de Thorigny, Bertin, Geoffroi, and several portraits of himself. The Louvre possesses no less than twelve. Two of the most noteworthy of his historical pictures, “ Le Repas donne en 1687 par le ville a Louis XIV,’’ and the "‘Manage du due de Bourgogne en 1697,” both masterpieces of composition and colour, were destroyed during the first Revolution. An Ex-Voto is still to be seen in the Church of St. Etienne-du-Mont in Paris, in which he has represented himself and Santeuil ; a Crucifixion of Christ in the Church St. Genevieve; a Flight into Egypt, and an Assumption of the Virgin. He was in succession Professor, Rector, Director, and Chancellor of the Academy, thus filling successively all the offices of honour in that learned body ; he died in great esteem on the 20th March, 1746. 54 BIOGRAPHICAL NOTICES NATTIER, JEAN-MARC 1685-1766 Jean- Marc Nattier, son of the portrait painter Marc Nattier, and of Marie Courtois, a distinguished miniaturist, was born at Paris, 17th March, 1685. ^^^st instructed by his father, and afterwards studied at the Academy and in the Gallery of the Luxembourg. At the age of fifteen he carried off the first prize at the Academy, and his god-father, the painter Jean Jouvenet, wished to obtain for him admission into the French School of Arts in Rome, but the young artist, who was then occupied in taking drawings in the Gallery of the Luxembourg which Louis XIV had permitted him to have engraved by the most skilful masters, declined to go. At the death of the sovereign in 1715, M. Le Fort, Peter the Great’s minister, persuaded Nattier to accompany him to Amsterdam where the Czar was then staying. He first painted the portraits of several personages of the Russian Court and a Battle of Pultava, and afterwards had the honour of having for models the Empress Catherine and the Czar, who wished to take him to Russia, but Nattier would not consent to leave France. In 1718, on the production of a “Perseus OF FRENCH PAINTERS 55 bringing the Medusa’s head to the marriage feast of Phineus,” Nattier was elected to the Academy. In 1720, having lost the fruit of his economies through the schemes of the financier Law, he resolved to confine himself to the more lucrative occupation of portrait painting, which he practised with the greatest success to the end of his life. Among the considerable quantity of his portraits, he painted the whole Court of Louis XV and the most eminent people of his time. Princesses, high-born ladies, favourites, etc., generally represented as mythological characters, or in allegorical dis- guises; thus he painted Mme. de Chateauroux as “ Point de Jour,” and Mme. de Flavacourt as “ Silence,” are remarkable for their grace and distinction. He was truly, as Cresset called him, “ the pupil of the Graces and Beauty’s painter.” Nattier also produced non-mythological portraits, such as his admirable “ Marie Leczinska,” in nigligi dress, now in the Dijon Museum, and his own portrait with his family round a harpsichord, dated 1730. The Musde de Versailles contains the “ Portrait des deux dames de France qui sont a I’abbaye de Fontevrault, Mme. Louise tenant des fleurs et Mme. Sophie tenant son voile”; the Louvre possesses “La Madeleine”; Marseilles, a “Por- trait en pied de Mme. de Pompadour, sous la figure de I’Aurore”; Nantes, the “ Portrait de A. Cuppi, the celebrated dancer, known as La Camargo,” and a “ Portrait d’une dame de la Cour de Louis XV”; Orleans, a “Tete de jeune fille” 56 BIOGRAPHICAL NOTICES (pastel); Valenciennes, a “Portrait du Due de Boufflers”; Perpignan, a Portrait of Louis XV ; and the Dresden Gallery a “ Portrait du Marechal de Saxe.” The works of Nattier were engraved by Leroy, Dupin, Drevet, Balechon, R. Guilbard, J. Tardieu, Beauvarle, Henri- quiez, Lepicie, J. Audran, Fessart, etc. OF FRENCH PAINTERS 57 PATER, JEAN-BAPTISTE-JOSEPH 1695-1736 Jean-Baptiste-Joseph Pater was born at Valenciennes on 29th December, 1695. Ee was the son of Antoine- Joseph Pater, a sculptor and wood-carver, who was the first instructor of Jacques Saly, sculptor to King Louis XV; his father, who initiated him into the principles of design, soon became aware of his son’s innate talent for painting, and sent him to Paris to study under the direction of his fellow countryman, Watteau, but the latter, who was always in delicate health, was so irritable and impatient that Pater did not remain long with him, though after leaving him he always mentioned his master with affection and reverence. Pater himself was much lacking in physical strength, and the fear of being incapacitated for work before he had saved enough to secure him a peaceful existence made of him an indefatigable worker; he would rise at day-dawn, and in the winter used to spend his evenings in roughly drawing pictures which he usually finished on the following day. He was received Academician on 31st December, 1728, his diploma piece being “Une rejouissance de Soldats,” now in the Louvre under the title of “ Une Fete Champetre.” H 58 BIOGRAPHICAL NOTICES While Watteau was ill at Nogent, where he had taken up his residence after his return from London in 1721, he sent for Pater whom he desired to see; the latter, who thought he might have unjustly treated his master, hastened to him overwhelmed with joy. Watteau, delighted to see again his former pupil, bade him stay and work by his side. He un- fortunately soon after succumbed to his inexorable disease, leaving his pupil in despair at not having been able to benefit longer by his lessons. Full of grief he returned to Paris, and sought consolation in hard work, scarcely allowing himself time for meals, and cur- tailing his hours of rest; this unceasing exertion undermined his weak health, and he died on the 25th of July, 1736, at the early age of forty-one, having lived poorly in order to die rich. His works, which are now much sought after, adorn many European museums and private collections. The Louvre possesses, besides his piece of reception to the Academy above mentioned, a “ Reunion de Comediens dans un pare,” “ La Toilette,” “Conversation dans un pare,” “La Tente des Vivandieres,” “ Le mari battu et content,” and two designs, “La Baigneuse,” and “Jeune femme assise a terre.” The Victoria and Albert Museum contains “Une Fete Champetre,” and the Wallace Collection no less than twelve of his works. OF FRENCH PAINTERS 59 VAN LOO, CHARLES-ANDR^ 1705-1765 Charles Andr£ Van Loo, known as Carl Van Loo, was born at Nice, 15th July, 1705. Being still in infancy when his father died, he had for first master his brother Jean-Baptiste ; when the latter was sent to Rome by the Prince de Carignan, Carl accompanied him, and both entered the studio of Bene- detto Luti. There the young artist made the acquaintance of the sculptor Legros, who almost induced him to abandon painting for statuary, and, under Legros’s tuition, would prob- ably have become a sculptor if the latter had lived longer. At his death in 1719, Van Loo, being left without support in his resolution, returned to his brushes, and his brother Jean- Baptiste, having about that time been recalled to France by the Prince de Carignan, Carl returned to Paris with him and there assisted him with the restoration of the paintings executed by Primaticio for Francois I at the Chateau de Fon- tainbleau. In 1727, three years after having gained the “grand prix ” for painting, Carl returned to Rome, taking with him his two nephews, Louis and Frangois Van Loo; he had scarcely settled in that city when he carried off, with a drawing repre- 6o BIOGRAPHICAL NOTICES senting Le Refus de Balthazar,” the prize annually offered by the Academy of Saint Luc. Van Loo was a most prolific and versatile artist; he has painted portraits, religious and historical subjects, allegories and genre pictures, in all of which he was equally successful. He constantly exhibited at the Paris Salon from 1737 to 1765, the year of his death, which took place on the 15th of July. He is represented at the Louvre by a “ Portrait de Marie Leczinska,” and four other pictures ; and at Versailles, among other works, by a “ Portrait de Louis XV portant la cuirasse et le manteau Royal.” OF FRENCH PAINTERS 6i MADAME VIGEE-LEBRUN 1755-1842 Marie-Anne Elisabeth Vigee, dame Lebrun, was born at Paris, i6th April, 1755. The daughter of a painter not with- out talent, she learnt the rudiments of her art, almost ex- clusively through practice, or at least with little tuition, in a small studio of her own. At the age of seven she drew the bearded head of a man, which gave Vig6e an insight into her brilliant future, and probably induced him to allow her natural talent to develop in absolute freedom. Subsequently Doyen, Davesne, Briard, Greuze, and particularly Jules Vernet, helped her with advice; at twenty years of age she was already celebrated, and her portraits of Comte Orloff, Schouvaloff, of the Comtesse de Brionne, of the Duchesse d’Orleans made her the artist in vogue. In 1776 she married the painter and art critic, Jean- Baptiste- Pierre Lebrun, a marriage which she had cause to regret later. Being an extremely seductive woman, she was a great favourite with society, and much sought after; this advantage unfortunately caused her much grief, for her name was maliciously men- tioned in connection with those of the Minister Calonne, the Comte de Vaudreuil, and others in turn. In 1779 she exe- 62 BIOGRAPHICAL NOTICES cuted the portrait of Marie Antoinette, which from that time to the Queen’s death Mme. Lebrun painted more than twenty times, in all manners of attitude and all kinds of cos- tumes. She also painted the portrait of “ Monsieur frere du Roi,” afterwards Louis Philippe. She w”as elected to the Academy in 1783, her diploma piece being “ La Paix qui ramene I’abondance.” At the time of the Revolution of 1 789 Mme. Lebrun took refuge in Italy, where she received the most hearty welcome in Rome and Naples. Thence she visited successively Vienna, Berlin, and St. Petersburg, leaving everywhere tokens of her talent. In Vienna she painted the portrait of her friend Mile, de Fries. In Rome those of the princesses Adelaide and Victoria, the painter Roberts, Miss Pitt as Hebe, which is now in London, one of her finest works. In Naples, the musician Paisiello, and the famous Lady Hamilton, which she repre- sented as a bacchante revelling on the seashore ; this is now in the Louvre. After a short stay in London, where she painted the por- traits of the Prince of W ales and of Lord Byron, she came back to Paris in 1802. Bonaparte then commissioned her to execute the portrait of his sister, the wife of Murat. She soon after set out on a journey to Switzerland, and was detained at Coppet to paint the handsome portrait of Mme. de StaH. With the Restoration her vogue returned, and later, in 1817, OF FRENCH PAINTERS 63 one of her portraits of Marie Antoinette was re-exhibited and obtained a great success at the Paris Salon. A widow since 1813, she died peacefully when almost a nonagenarian, having preserved intact her rare intellectual faculties, 30th March, 1842. She has left, under the title of “ Souvenirs ” (1835 to 1837), some MSmoires of the most interesting kind. 64 BIOGRAPHICAL NOTICES WATTEAU, JEAN-ANTOINE 1684-172 1 Watteau was born on loth October, 1684, at Valenciennes, where his father was a master slater in the service of the town. He probably served his apprenticeship with the painter Gerin, though some authors maintain that his first master was more of a house painter than an artist, and that he has remained absolutely unknown. However this may be, at the age of eighteen Watteau was still very far removed from an artist, as he went to Paris as an alternative between that and becoming a slater. There he obtained employment from dealers, chiefly from a certain Metayer, a mediocre painter, who had a shop at the Pont Notre- Dame, and whose business it was to keep about a dozen workmen to manufacture for him trumpery works of art and execute vulgar copies. Watteau soon became the most clever and the best paid of the company; he received a salary of something equivalent to half-a-crown a week and his daily dinner, la soupe tons les joursT Far from being disheartened by his wretched condition, he was thankful to have the strict necessaries of life provided for him and to be able to devote with a free mind all his efforts to studies from nature. To this pursuit he gave up every moment OF FRENCH PAINTERS 65 of freedom, his holidays, and even his rest. He was at last rewarded with the acquaintance of the painter and engraver Claude Gillot, who saw some of his essays, and was so struck by the happy disposition of the young artist that he offered him to share his home. Gillot, who at that time managed the machinery, painted the scenery, and designed the costumes at the Opera, was also a painter of bacchanalian and carnival- esque subjects, and more particularly of scenes illustrative of Italian comedy. Watteau, realizing that he had found his true vocation, worked with zeal, and, under the direction of his master, made such progress that he soon became his equal, and in a short space of time actually surpassed him in the depicting of Fetes ChampUres, Whether the jealousy of Gillot or Watteau’s own inclination caused him to leave the former’s remains to this day a matter of disagreement; what- ever the cause may have been, with or without Gillot’s assent, Watteau, about 1708, entered the studio of Claude Audran, the famous painter decorator who resided at the Luxembourg, whom he assisted in the painting of ceilings, pier-glasses, and over-door and frieze panels, all of which being generally executed on white and gold ground gave him the delicate touch which constitutes one of the great charms of his work. He was admitted as Associate to the Academy in 1712, and elected Academician in 1717, on the presentation of his I 66 BIOGRAPHICAL NOTICES drawing, L’Embarquement pour Cythere,” one of the most celebrated works in French art, now in the Louvre. Watteau, who had been consumptive from an early age, went to London in 1719 to consult Dr. Richard Mead, and remained a year in that city, which he left in 1720 to re- cuperate his health, further impaired by the climate. On his return he took up his residence with Gersaint, the picture and curiosity dealer, whose signboard he painted. This work, which had a prodigious success, is now in the German Imperial Collection. Six months after his return he grew worse, and went to live with another friend at Nogent, where he died on i8th July, 1721. Watteau is not only lovable, witty, and original, he is also the most French of all French painters. Properly speaking, he had only two pupils, Lancret and Pater, but he exercised on many other artists a wonder- ful influence. The Louvre possesses, besides the previously mentioned work, nine other paintings by him, three of which, the “ Gilles,” the “ Indifferent,” and the “ Finette,” are master- pieces. CHISWICK PRESS : CHARLES WHITTINGHAM AND CO. TOOKS court, chancery lane, LONDON.