Introduction: A Luminary of Lorraine
Claude Deruet stands as a significant figure in the artistic landscape of seventeenth-century France, particularly within the Duchy of Lorraine. Born in Nancy in 1588 and passing away in the same city in 1660, Deruet navigated a complex period of political and artistic transition. His career flourished under ducal and royal patronage, establishing him as a leading painter whose style, while rooted in local traditions, engaged with the broader currents of the European Baroque. Known for his elegant portraits, historical scenes, and allegorical works, Deruet developed a distinctive manner that captured the refined tastes of his aristocratic clientele.
Early Life and Artistic Formation in Nancy
Claude Deruet's artistic journey began in his native Nancy, the vibrant capital of the independent Duchy of Lorraine. During the late sixteenth and early seventeenth centuries, Lorraine was an important artistic center, fostering a unique blend of influences from France, the Holy Roman Empire, and Italy. It was in this environment that Deruet received his initial training.
A crucial early influence was Jacques Bellange, the court painter to Duke Charles III of Lorraine. Bellange was a master of the late Mannerist style, known for his elongated figures, complex compositions, and highly stylized elegance. Working in Bellange's studio exposed the young Deruet to the sophisticated, somewhat eccentric aesthetic prevalent at the Lorraine court. This early grounding in Mannerism would leave a lasting imprint on Deruet's work, visible in his penchant for graceful lines and elaborate detail, even as he later embraced Baroque dynamism.
The Italian Sojourn: Rome and its Influences
Like many ambitious artists of his time, Deruet sought to further his education and enhance his prestige by traveling to Italy. He spent time in Rome between approximately 1612 and 1619. This period was vital for exposure to both the legacy of the High Renaissance and the burgeoning Baroque movement, spearheaded by artists like Caravaggio and Annibale Carracci.
During his Roman stay, Deruet associated himself with established masters. He is known to have studied with Agostino Tassi, a painter known for landscapes and illusionistic ceiling decorations, who would later, notoriously, be the teacher (and rapist) of Artemisia Gentileschi. Deruet also worked with Cavaliere d'Arpino (Giuseppe Cesari), a prominent painter favored by the papacy, whose style represented a transition from late Mannerism to early Baroque. Furthermore, he learned from Antonio Tempesta, a prolific painter and etcher known for his dynamic battle scenes and hunts.
While in Rome, Deruet undertook commissions, including a small fresco decoration in the Villa Borghese for Cardinal Scipione Borghese, a major patron of the arts. A particularly fascinating encounter during this period was his meeting with Hasekura Tsunenaga, a Japanese samurai and diplomat leading an embassy to the Vatican. Deruet painted a portrait of Hasekura in 1615, a work that survives today in the Galleria Borghese, offering a rare European depiction of a Japanese nobleman from this era.
Despite these experiences and studies, the provided information suggests that the Italian sojourn did not fundamentally revolutionize Deruet's style. While he absorbed elements of the Italian Baroque, particularly its energy and richness, his artistic core remained strongly connected to the Mannerist elegance and specific traditions he had learned in Lorraine under Bellange. His Italian experience broadened his horizons and technical skills but did not erase his foundational artistic identity.
Return to Lorraine: Court Painter and Nobleman
Upon returning to Lorraine around 1619, Deruet's career rapidly ascended. His skills, honed in Italy and aligned with the tastes of the aristocracy, quickly attracted high-level patronage. He became a favorite of Duke Henri II of Lorraine, who appointed him court painter. This prestigious position provided Deruet with a steady stream of commissions and cemented his status within the Duchy.
His standing was further elevated in 1620 when he was ennobled by the Duke, a significant honor for an artist, reflecting his high esteem at court. This title allowed him access to the highest echelons of society, influencing the types of commissions he received, particularly portraiture. He established a successful workshop in Nancy, becoming the leading painter in the region.
His workshop became a training ground for younger artists. Notably, the celebrated landscape painter Claude Lorrain (born Claude Gellée) worked as Deruet's assistant for about a year around 1625-1626 after Lorrain's return from Italy. While their styles differed significantly – Deruet focused on figures and courtly elegance, Lorrain on idealized landscapes – this connection highlights Deruet's central role in the Lorraine art scene. Lorrain assisted Deruet on decorative projects, including the ceiling frescoes for the Carmelite church in Nancy.
Royal Favor: Tutor to Louis XIII
Deruet's reputation extended beyond the borders of Lorraine. He gained favor with the French monarchy, a remarkable achievement given the often-tense political relationship between the Duchy of Lorraine and the Kingdom of France. He became the painting tutor to King Louis XIII himself. This connection underscores Deruet's renown and the appeal of his refined style.
A testament to this relationship is a portrait of Deruet reportedly painted by Louis XIII, commemorating the tutelage. This artifact, mentioned as being housed in the Musée Historique Lorrain in Nancy, speaks volumes about the personal connection between the artist and the monarch. This royal patronage significantly boosted Deruet's prestige throughout France and likely brought him further commissions from the French nobility.
The Artistic Style of Claude Deruet: The "Façon Deruet"
Claude Deruet's art is characterized by a unique synthesis of late Mannerism and Baroque elements, filtered through a distinctively Lorrain sensibility. His style became so recognizable that it was sometimes referred to as the "façon Deruet" – the Deruet manner. This style was particularly noted for its depiction of women, emphasizing grace, elegance, and elaborate fashion.
His figures often retain the elongated proportions and graceful, sometimes affected, poses characteristic of Mannerism, reminiscent of his training with Bellange. However, he incorporated Baroque dynamism through richer colors, more dramatic lighting contrasts (though less intense than Caravaggio's tenebrism), and a greater sense of movement, especially in his narrative and allegorical works.
A hallmark of his work is the meticulous attention to detail, particularly in rendering luxurious fabrics, intricate jewelry, and elaborate hairstyles. This focus on costume and finery appealed greatly to his aristocratic patrons, who saw his portraits as reflections of their own status and sophistication. His backgrounds, whether landscapes or architectural settings, are often complex and decorative, adding to the overall richness of the composition.
While he tackled various subjects, including religious scenes, historical events, and allegories, he excelled at portraiture, especially equestrian portraits and depictions of noblewomen. His ability to capture both a likeness and an idealized sense of courtly elegance made him highly sought after.
Major Works and Commissions
Claude Deruet's oeuvre included large-scale decorative projects, allegorical series, historical paintings, and numerous portraits. While some major works, like the decorations for the Dominican church in Nancy (completed 1626-1627), were tragically destroyed during the French Revolution in 1789, several important pieces survive.
Among his most famous works is the series The Four Elements, painted around 1641-1642. Commissioned by the powerful Cardinal Richelieu, chief minister to Louis XIII, these allegorical paintings personify Fire, Air, Earth, and Water through dynamic compositions featuring numerous figures, often including portraits of contemporary nobles disguised as mythological characters. The surviving painting Fire (Le Feu), housed in the Musée des Beaux-Arts d'Orléans, exemplifies Deruet's mature style, blending mythological narrative with courtly splendor and Baroque energy. The series was originally created for one of Richelieu's residences.
Another significant work is The Rape of the Sabines (1651), located at the Musée d'Art de La Ferté-sous-Jouarre. This historical subject, popular during the Baroque period, allowed Deruet to showcase his skill in depicting dramatic action, complex figure groupings, and emotional intensity, all rendered with his characteristic decorative flair.
Deruet was also renowned for his portraits, particularly those celebrating female strength and status. The Equestrian Portrait of Madame de Saint-Baslemont (circa 1646) is a prime example. It depicts the Lorraine heroine Alberte-Barbe d'Ernecourt, Madame de Saint-Baslemont, known for her bravery during the Thirty Years' War. Deruet presents her in armor on horseback, employing a dynamic pyramidal composition that conveys authority and martial prowess while retaining an air of aristocratic refinement. Works like A Lady in a Frothy Pink Dress further highlight his mastery in capturing the elegance and intricate fashion favored by the elite, embodying the "façon Deruet."
The portrait of Hasekura Tsunenaga (1615), painted during his Roman period and now in the Galleria Borghese, remains a unique and historically significant work, documenting a rare moment of cross-cultural encounter.
Workshop, Popularity, and Contemporaries
Claude Deruet operated a large and productive workshop in Nancy, employing assistants and training pupils to meet the demand for his work. His success was such that by the mid-1630s, his style was widely imitated, and unfortunately, his popularity also led to the production of forgeries, a testament to his high market value and renown.
His career unfolded alongside other major figures in Lorraine art, most notably the printmaker Jacques Callot and the painter Georges de La Tour. While their styles differed greatly – Callot known for his intricate etchings of court life and the miseries of war, and La Tour for his dramatic chiaroscuro religious scenes – they collectively represent the artistic flourishing of Lorraine in the seventeenth century. A drawing in the Louvre depicting Deruet and his son, Henri-Nicolas, has been attributed by some scholars to Callot, suggesting potential interaction between the artists' circles.
Deruet's connection with Claude Lorrain, albeit brief, links him to one of the greatest landscape painters of the Baroque era. His teachers in Italy, Antonio Tempesta and Cavaliere d'Arpino, were significant figures in late Mannerist and early Baroque Rome. His patrons and admirers included not only the Dukes of Lorraine and King Louis XIII but also Cardinal Richelieu, Pope Urban VIII, and reportedly King Philip IV of Spain, placing him within a network of major European political and cultural figures.
In the broader context of French art, Deruet's style offers a contrast to the more classical Baroque that developed in Paris under artists like Simon Vouet (who also spent significant time in Italy) and Philippe de Champaigne. Deruet retained a stronger connection to Mannerist elegance and regional traditions, creating a distinctive niche within French Baroque painting.
Later Life and Legacy
Claude Deruet continued to work productively throughout his life, maintaining his status as a preeminent painter in Lorraine despite the political turmoil that affected the Duchy, including periods of French occupation during the Thirty Years' War. He died in Nancy in 1660, leaving behind a substantial body of work and a significant artistic legacy.
His influence was most strongly felt within Lorraine, where his elegant style shaped courtly taste for decades. While perhaps overshadowed internationally by contemporaries like Claude Lorrain or the Parisian masters, Deruet remains a crucial figure for understanding the richness and diversity of French Baroque art outside the capital. He successfully blended local traditions rooted in late Mannerism with the broader trends of the Italian Baroque, creating a unique and highly refined artistic language.
His works celebrated the splendor and sophistication of aristocratic life, capturing the specific cultural milieu of the Duchy of Lorraine during its final period of relative independence. His ability to secure patronage at the highest levels, from Dukes to Kings and Cardinals, speaks to his artistic skill and his adept navigation of the complex social and political landscape of his time.
Collections Holding Deruet's Work
Works by Claude Deruet are housed in several important museum collections today, preserving his artistic contributions for study and appreciation. Key institutions include:
Musée des Beaux-Arts, Orléans: Holds parts of The Four Elements series, notably Fire.
Galleria Borghese, Rome: Houses the historically significant Portrait of Hasekura Tsunenaga.
Musée Historique Lorrain, Nancy: Contains artifacts related to his life and potentially the portrait of Deruet attributed to Louis XIII. His connection to Nancy makes this museum particularly relevant.
Louvre Museum, Paris: Holds drawings, including the possible portrait of Deruet and his son linked to Jacques Callot.
Musée d'Art de La Ferté-sous-Jouarre: Possesses The Rape of the Sabines.
While the exact number of his surviving works is not specified in the provided sources, these collections represent major repositories of his art, allowing audiences to engage with the elegant and distinctive world of Claude Deruet, the celebrated court painter of Lorraine.
