The 18th century in France was a period of immense artistic ferment, witnessing the flourishing of Rococo, the stirrings of Neoclassicism, and the enduring appeal of genre painting. Within this vibrant milieu, the Lépicié family carved out a significant niche, contributing to the artistic landscape as engravers, painters, and influential figures within the esteemed Académie Royale de Peinture et de Sculpture. This exploration focuses primarily on François-Bernard Lépicié, the elder, a master engraver and respected art historian, and will necessarily touch upon his son, Nicolas Bernard Lépicié, who extended the family's artistic legacy into the realm of painting and teaching.
François-Bernard Lépicié (1698-1755): A Master of the Burin and a Voice of the Académie
François-Bernard Lépicié, born in Paris in 1698, was destined for a life immersed in the arts. His father, Bernard Lépicié (1668–1748), was himself a noted engraver, providing young François-Bernard with an early and intimate exposure to the demanding craft of printmaking. This familial grounding in the arts would shape his career and establish a lineage that continued with his own son.
Early Life and Artistic Formation
Growing up in Paris, the epicenter of European artistic innovation, François-Bernard Lépicié would have been surrounded by the works of leading artists and the intellectual currents that shaped them. He honed his skills as an engraver, mastering the intricate techniques required to translate paintings and drawings into reproducible prints, a vital means of disseminating artistic ideas and images before the advent of photography. His talent did not go unnoticed, and he quickly established a reputation for his meticulous craftsmanship and his ability to capture the essence of the original works he interpreted.
Career as an Engraver
The primary vocation of François-Bernard Lépicié was that of an engraver. In an era when original paintings were often accessible only to the wealthy or those with court connections, engravings played a crucial role in popularizing art. Lépicié excelled in this field, producing prints after the works of many prominent contemporary artists. His engravings were prized for their fidelity to the source material, their clarity of line, and their nuanced rendering of light and shadow.
One of his most celebrated engravings is "Le Bénédicité" (Saying Grace), created in 1744. This print was made after the famous painting of the same name by Jean-Siméon Chardin (1699-1779). Chardin was a master of still life and genre scenes, celebrated for his quiet depictions of domestic life and his profound understanding of childhood. Lépicié’s engraving skillfully captures the tender atmosphere and subtle emotionality of Chardin's original, translating the painterly qualities of the oil on canvas into the linear language of engraving. The work depicts a mother and her two children about to say grace before a meal, a scene imbued with a sense of piety and familial warmth that resonated deeply with the 18th-century public.
Another significant work by François-Bernard Lépicié is his 1743 engraving titled "Monument to Mignard." This print reproduces the funerary monument designed by the sculptor Jean-Baptiste Lemoyne II (1704-1778) in honor of Pierre Mignard (1612-1695), a leading French painter of the Baroque era, known as "Le Romain" for his long period of work in Rome and as a rival to Charles Le Brun. Lépicié's engraving of this sculptural monument demonstrates his versatility, showcasing his ability to render the three-dimensional qualities of sculpture with precision and an understanding of its allegorical significance. The print served to disseminate Lemoyne's design and perpetuate Mignard's memory.
Lépicié also produced engravings after other notable artists, including François Boucher (1703-1770), a leading proponent of the Rococo style. An engraving by Lépicié after Boucher's painting "Le Déjeuner" (The Luncheon) would have helped to popularize Boucher's elegant and sensuous depictions of aristocratic life. His oeuvre showcases a commitment to reproducing the works of diverse masters, contributing significantly to the visual culture of his time.
Role in the Académie Royale and Art Historical Contributions
Beyond his work as a practicing engraver, François-Bernard Lépicié held a position of considerable importance within the French art establishment. He served as the Permanent Secretary and Historiographer of the Académie Royale de Peinture et de Sculpture. This role placed him at the heart of artistic discourse and administration in France. The Académie, founded in 1648, was the premier institution for the arts, responsible for training artists, organizing exhibitions (the Salons), and upholding artistic standards.
As Secretary and Historiographer, Lépicié was responsible for documenting the Académie's activities and chronicling the lives and works of its members. His writings are invaluable sources for art historians today. He authored "Vies des premiers peintres du roi, depuis M. Le Brun, jusqu'à présent" (Lives of the King's First Painters, from Mr. Le Brun to the Present), published in 1752. This work provided biographical accounts of artists like Charles Le Brun (1619-1690), the dominant figure in French art during the reign of Louis XIV and a key architect of the Académie's doctrine.
He also compiled the "Catalogue raisonné des tableaux du Roy avec un abrégé de la vie des peintres" (A Classified Catalogue of the King's Paintings with a Summary of the Painters' Lives), published in two volumes in 1752-1754. This was a significant undertaking, cataloging the royal collection and providing critical commentary, further cementing his reputation as a knowledgeable connoisseur and scholar. His meticulous work helped to organize and make accessible information about one of Europe's most important art collections.
François-Bernard Lépicié passed away in Paris in 1755, leaving behind a legacy as a skilled engraver who helped to popularize the works of his contemporaries, and as a dedicated historian whose writings preserved crucial information about the artists and artistic institutions of his time. His contributions laid a foundation for his son, Nicolas Bernard, to pursue a different, yet equally significant, path in the arts.
Nicolas Bernard Lépicié (1735-1784): The Painter Son and Influential Teacher
Born in Paris in 1735, Nicolas Bernard Lépicié was the son of the engraver and historian François-Bernard Lépicié and Renée-Élisabeth Marlié, who was also an engraver. Immersed in an artistic household from birth, Nicolas Bernard naturally gravitated towards the arts, though his chosen medium would be painting rather than the printmaking favored by his parents. His career would see him become a respected painter of history, genre scenes, and portraits, as well as an influential professor at the Académie Royale.
Early Artistic Development and Training
Nicolas Bernard Lépicié initially received guidance from his father, benefiting from François-Bernard's extensive knowledge of art and his connections within the Parisian art world. However, for formal training as a painter, he became a pupil of Carle Van Loo (1705-1765). Van Loo was one of the most prominent and versatile painters of his generation, excelling in history painting, portraiture, and mythological scenes. He held the prestigious position of Premier peintre du Roi (First Painter to the King) and was a director of the Académie Royale. Studying under such a master provided Nicolas Bernard with a rigorous academic grounding and exposure to the grand manner of painting.
Academic Career and Teaching Role
Nicolas Bernard Lépicié's talent developed rapidly. He was agréé (approved) by the Académie Royale in 1764 and became a full member (académicien) in 1769 upon presentation of his reception piece, "The Landing of William the Conqueror in England." This large-scale history painting demonstrated his mastery of composition, anatomy, and historical narrative, aligning with the highest genre in the academic hierarchy.
His ascent within the Académie continued. He was appointed an assistant professor in 1770 and then a full professor in 1777. This teaching role was significant, as it allowed him to shape the next generation of French artists. Lépicié was known for his dedication to his students and his ability to impart the principles of academic art.
Key Students of Nicolas Bernard Lépicié
As a professor at the Académie, Nicolas Bernard Lépicié taught a number of artists who would go on to achieve prominence. His pupils included:
Carle Vernet (1758-1836): Known for his paintings of battles, equestrian scenes, and contemporary life, Carle Vernet came from an artistic dynasty himself, being the son of Claude-Joseph Vernet and the father of Horace Vernet.
Jean-Frédéric Schall (1752-1825): Schall specialized in charming and often risqué genre scenes and portraits, working in a delicate Rococo-influenced style.
Jean-Antoine-Théodore Giroust (1753-1817): A painter of historical and mythological subjects, Giroust won the prestigious Prix de Rome in 1778.
Jean-Joseph Taillasson (1745-1809): Taillasson was a history painter and writer on art, whose style evolved towards Neoclassicism.
Jean-Baptiste Regnault (1754-1829): A significant Neoclassical painter, Regnault was a rival of Jacques-Louis David and also won the Prix de Rome. His works often featured mythological and historical subjects.
Henri-Pierre Danloux (1753-1809): Danloux was a portraitist and genre painter who spent time in England during the French Revolution.
Other notable students who benefited from his tutelage included Nicolas-Antoine Taunay (1755-1830), who became known for his landscapes and battle scenes, and Jean-Louis Demarne (1752-1829), a painter of landscapes and genre scenes often in the Dutch style.
The success of his students attests to Lépicié's effectiveness as an educator and his contribution to the continuity of French artistic traditions.
Artistic Style and Thematic Evolution
While Nicolas Bernard Lépicié began his career with ambitions as a history painter, as evidenced by works like "The Landing of William the Conqueror in England," his artistic inclinations gradually shifted. He developed a profound interest in genre painting, portraiture, and scenes of domestic life, often imbued with a quiet sensitivity and moral undertone.
His style was characterized by meticulous observation, a refined technique, and a sympathetic portrayal of his subjects. He was particularly adept at capturing the innocence and charm of children, a theme that became increasingly popular in the latter half of the 18th century. In this, he can be seen as an heir to the tradition of the Le Nain brothers (Antoine, Louis, and Mathieu) from the 17th century, who were known for their dignified portrayals of peasant life, and more directly, he was influenced by his contemporaries Jean-Siméon Chardin and Jean-Baptiste Greuze (1725-1805).
Chardin's influence is evident in Lépicié's attention to the quiet dignity of everyday objects and domestic activities. Greuze, known for his sentimental and moralizing genre scenes, also left a mark on Lépicié's work, particularly in the depiction of familial emotions and moral narratives. However, Lépicié often avoided the overt melodrama sometimes found in Greuze's paintings, opting for a more restrained and naturalistic approach.
Notable Paintings by Nicolas Bernard Lépicié
Nicolas Bernard Lépicié produced a diverse body of work that showcased his evolving style and thematic interests. Some of his key paintings include:
"The Landing of William the Conqueror in England" (1769): His reception piece for the Académie, this work demonstrates his skill in the grand genre of history painting, depicting a pivotal moment in English history with dynamic composition and attention to historical detail.
"A Mother Feeding Her Child" (1774): This tender scene exemplifies his move towards genre painting and his sensitive portrayal of domestic life. The painting focuses on the intimate bond between mother and child, rendered with warmth and naturalism. It echoes the themes explored by Chardin and reflects the growing Enlightenment interest in childhood and family.
"Louis-Philippe, Duke of Valois, on the Cradle" (1774): This charming portrait depicts the infant who would later become King Louis Philippe I. It combines portraiture with genre elements, capturing the child with a sense of intimacy and informality, despite his noble status.
"Le Petit Dessinateur" (The Young Draughtsman) (1772): This work, along with its companion piece "La petite indigente" (The Little Indigent Girl), highlights Lépicié's skill in depicting children. "Le Petit Dessinateur" shows a young boy engrossed in drawing, a subject that celebrates youthful creativity and diligence.
"An Old Beggar": This painting, likely a character study, demonstrates Lépicié's ability to capture individual likeness and convey personality through careful observation. Such works reflect an interest in realism and the depiction of diverse social types.
"The Conversion of Saint Paul": While he increasingly focused on genre, Lépicié did not entirely abandon religious or historical subjects. This work would have allowed him to explore dramatic narrative and emotional intensity, characteristic of his academic training.
Other works mentioned in various sources, such as "La lanterne" (The Lantern), "Le coq et la poule" (The Rooster and the Hen), and "Bouquet of Roses," suggest a versatility that extended to still life and detailed studies from nature, further aligning him with the observational acuity of Chardin.
His paintings were regularly exhibited at the Paris Salon, where they generally received positive critical attention for their technical skill, pleasing subject matter, and moral sensibility.
Relationship with Contemporaries
Nicolas Bernard Lépicié worked during a period of transition in French art, as the Rococo style gradually gave way to the more austere and morally serious Neoclassicism. He navigated these changing tastes, adapting his style while retaining his own artistic voice.
There is some suggestion that he may have had a working relationship or at least a collegial acquaintance with Jacques-Louis David (1748-1825), the leading figure of Neoclassicism. Both artists reportedly worked in studios within the Louvre palace at one point, which would have provided opportunities for interaction. While their artistic styles differed significantly, particularly in David's later, more politically charged work, they were part of the same academic environment.
Later Life, Death, and Legacy
Nicolas Bernard Lépicié continued to paint and teach until his death in Paris on September 15, 1784, at the relatively young age of 49. He left behind a significant body of work that reflects the artistic currents of his time, from grand history painting to intimate genre scenes. His legacy is twofold: as a painter whose works are admired for their charm, sensitivity, and technical skill, and as an influential teacher who helped to train a new generation of artists.
His paintings are found in major museum collections, including the Louvre in Paris, and continue to be appreciated for their depiction of 18th-century French life and their gentle humanism. He successfully carried the Lépicié family name into a new artistic domain, complementing his father's contributions in engraving and art history with his own achievements in painting.
The Enduring Legacy of the Lépiciés
The Lépicié family, through the distinct yet complementary contributions of François-Bernard and his son Nicolas Bernard, left an indelible mark on 18th-century French art. François-Bernard, the elder, excelled as a master engraver, making the works of renowned painters like Chardin accessible to a wider audience. His role as Secretary and Historiographer of the Académie Royale further solidified his importance, as his writings provide invaluable insights into the art world of his time. He chronicled the lives of artists such as Charles Le Brun and cataloged the royal collections, performing a vital service to art history.
Nicolas Bernard Lépicié, building upon this artistic heritage, distinguished himself as a painter and a respected professor at the Académie. Initially trained in the grand tradition of history painting under Carle Van Loo, he later found his true calling in genre scenes, portraits, and depictions of childhood, often imbued with a Chardinesque sensitivity and a Greuzian moral tone. His students, including Carle Vernet and Jean-Baptiste Regnault, went on to become significant artists in their own right, a testament to his pedagogical skills.
Together, father and son represent a fascinating chapter in the story of French art. François-Bernard's burin and pen, and Nicolas Bernard's brush and teachings, enriched the cultural landscape of their era. Their works continue to be studied and admired, offering a window into the artistic practices, social mores, and aesthetic sensibilities of 18th-century France, a period of extraordinary creativity and change. The Lépicié name remains synonymous with skill, dedication, and a profound engagement with the world of art.
