Laurent de La Hyre (1606-1656) stands as a significant figure in the landscape of 17th-century French art. A painter of considerable talent and refined sensibilities, he navigated the transition from the lingering influences of Mannerism and the burgeoning Baroque towards a distinctly French form of Classicism. His career, though relatively short, was marked by a consistent evolution, a dedication to elegant compositions, and a profound impact on the artistic milieu of Paris, particularly through his role as a founding member of the prestigious Académie Royale de Peinture et de Sculpture. This exploration delves into his life, artistic development, key works, and his enduring legacy within the annals of art history.
Early Life and Artistic Formation
Born in Paris on February 27, 1606, Laurent de La Hyre was immersed in an artistic environment from a young age. His father, Etienne de La Hyre, was a painter, providing Laurent with his initial instruction in the rudiments of art. This familial introduction to the craft likely instilled in him a foundational understanding of technique and composition. To further hone his skills, the young La Hyre became a pupil of Georges Lallemand, a painter whose workshop was a notable training ground for artists in Paris at the time. Lallemand, though perhaps not a revolutionary figure himself, would have exposed La Hyre to the prevailing artistic currents of the early 17th century in Paris, which included late Mannerist trends and the increasing influence of Italian art.
A pivotal aspect of La Hyre's development was his study of the works of Francesco Primaticcio at the Palace of Fontainebleau. Primaticcio, an Italian Mannerist who had been instrumental in decorating Fontainebleau for King Francis I in the 16th century, left a rich legacy of elegant, elongated figures and sophisticated decorative schemes. Though La Hyre never undertook the customary journey to Italy – a common pilgrimage for ambitious Northern European artists seeking to absorb the lessons of the Renaissance and contemporary Italian masters firsthand – his careful study of Primaticcio's work on French soil provided him with a crucial link to Italianate aesthetics. This self-directed study at Fontainebleau allowed him to internalize elements of Mannerist grace and compositional complexity, which he would later temper with a classical sense of order.
The Evolution of a Distinctive Style: Parisian Atticism
Laurent de La Hyre's artistic style is often characterized as a form of "Parisian Atticism," a term that denotes a refined, elegant, and somewhat cool classicism, distinct from the more robust and dramatic Baroque flourishing elsewhere in Europe, particularly in Italy and Flanders under artists like Peter Paul Rubens. While influenced by Italian art, especially the clarity of the Bolognese school (such as the Carracci and Guido Reni, whose works were known through prints and copies), La Hyre forged a personal idiom. His paintings are celebrated for their harmonious and often luminous color palettes, the graceful, poised gestures of his figures, and the clarity and balance of his compositions.
In his early works, one can discern the lingering influence of the Fontainebleau School and a certain Mannerist elongation in his figures. However, he quickly moved towards a greater naturalism and a more structured compositional approach. He avoided the overt emotionalism and dynamic turbulence of High Baroque artists like Gian Lorenzo Bernini or Pietro da Cortona. Instead, La Hyre favored scenes of quiet dignity, intellectual contemplation, or tender sentiment, rendered with a meticulous technique and a concern for narrative clarity. His figures, often clad in classicizing drapery, possess an understated elegance and psychological presence. This approach aligned well with the intellectual and cultural climate of Paris, which was increasingly asserting itself as a major European artistic center.
Major Themes and Subjects
Throughout his career, La Hyre addressed a range of subjects, with religious and mythological themes forming the core of his output. He received numerous commissions for altarpieces and decorative paintings for churches and monastic orders in Paris and its environs. These religious works often depict scenes from the Old and New Testaments, as well as the lives of saints. His approach to these sacred subjects was typically characterized by a sense of decorum and piety, emphasizing the solemnity and spiritual significance of the narratives.
Mythological subjects, drawn from classical antiquity, also provided La Hyre with ample opportunity to showcase his erudition and his skill in depicting idealized human forms and complex allegories. These paintings often explore themes of virtue, love, and heroism, appealing to the sophisticated tastes of his patrons. In addition to these grand narrative paintings, La Hyre also produced portraits and, notably in his later career, landscapes. His landscapes, often imbued with a serene, poetic atmosphere, show an affinity with the classical landscapes of contemporaries like Claude Lorrain and Nicolas Poussin, though La Hyre’s are distinctly his own in their gentle light and meticulous rendering of nature.
Representative Works: A Closer Look
Several key works punctuate La Hyre's career, illustrating his stylistic development and thematic concerns. One of his early significant commissions was Pope Nicholas V before the Tomb of Saint Francis (1630), now in the Louvre. This painting demonstrates his burgeoning classical tendencies, with its clear spatial organization, balanced figural arrangement, and the dignified portrayal of the historical figures. The restrained emotion and the emphasis on piety are characteristic of his approach to religious subjects.
Another important religious work is Saint Peter Healing the Sick (1637), also in the Louvre. Here, La Hyre masterfully handles a multi-figure composition, conveying the miraculous event with clarity and a sense of solemn wonder. The figures are rendered with anatomical precision and graceful movement, and the interplay of light and shadow enhances the scene's dramatic impact without resorting to overt theatricality. The Presentation of the Virgin in the Temple (circa 1639-1640), created for the Minims of the Place Royale, is another example of his ability to infuse traditional religious scenes with a fresh, classical elegance.
His mythological and allegorical works are equally compelling. Cornelia Refusing the Crown of the Ptolemies (also known as Cornelia, Mother of the Gracchi, Pointing to Her Children as Her Treasures), painted in 1646, is a prime example of his engagement with classical history and virtue. The composition is noble and balanced, the figures exude a quiet strength, and the narrative is conveyed with admirable clarity. The Embrace of Peace and Justice (1654), a late work, showcases his mature style, with its harmonious colors, elegant figures, and sophisticated allegorical content, reflecting the era's desire for order and harmony after periods of civil unrest. His series of allegories, such as those representing the Liberal Arts (e.g., Allegory of Music, Allegory of Grammar), further demonstrate his skill in creating refined decorative ensembles for discerning patrons.
The Académie Royale and Institutional Influence
Laurent de La Hyre played a crucial role in the institutionalization of art in France. In 1648, he became one of the twelve founding members, or "anciens," of the Académie Royale de Peinture et de Sculpture. This institution was established under royal patronage with the aim of elevating the status of artists from mere craftsmen to practitioners of a liberal art, promoting a specific (largely classical) artistic doctrine, and providing a structured system of training. Other founding members included prominent artists such as Charles Le Brun, who would later become its dominant director, Sébastien Bourdon, and Eustache Le Sueur, who was significantly influenced by La Hyre.
La Hyre's involvement with the Académie underscores his respected position within the Parisian art world. His commitment to classical ideals and his refined style were in harmony with the Académie's objectives. By participating in its foundation, he contributed to a movement that would shape the course of French art for centuries, establishing a centralized authority for artistic taste and education that was unparalleled in Europe at the time. This institutional framework provided a platform for the dissemination of classical principles and helped to foster a distinctly French school of painting.
Contemporaries and the Artistic Milieu of Paris
Laurent de La Hyre worked during a vibrant period in French art, with Paris emerging as a dynamic artistic hub. He was a contemporary of several influential painters whose works collectively defined the French Baroque and Classical movements. Simon Vouet, who returned to Paris from Italy in 1627, brought with him a more exuberant Italian Baroque style that initially dominated the Parisian scene. Vouet’s workshop was prolific, and his influence was widespread. La Hyre, while undoubtedly aware of Vouet's success, charted a more restrained and classical path.
Nicolas Poussin and Claude Lorrain, though primarily based in Rome, were towering figures whose classical ideals profoundly influenced French art. Poussin’s intellectually rigorous compositions and Lorrain’s idealized landscapes set a standard for classicism that resonated deeply in Paris. La Hyre shared with Poussin a commitment to clarity, order, and morally edifying subjects, though La Hyre’s style was generally softer and more lyrical. Philippe de Champaigne, another prominent contemporary, was known for his austere portraits and religious paintings, often imbued with a Jansenist sensibility, offering a different facet of French classicism.
Among the artists more directly connected to La Hyre was Eustache Le Sueur. Le Sueur, also a founding member of the Académie, was deeply influenced by La Hyre's elegant classicism, particularly in his early career. Le Sueur’s work often shares La Hyre’s gentle color harmonies and graceful figural types. Other notable painters of the period included Jacques Stella, known for his small-scale religious and mythological scenes, and the Le Nain brothers (Antoine, Louis, and Mathieu), who specialized in genre scenes of peasant life, offering a contrast to the grand manner of history painting. The artistic environment was also enriched by engravers like Michel Dorigny and François Perrier, who helped disseminate artistic ideas. La Hyre’s interaction with these artists, whether through direct association, rivalry, or shared institutional endeavors like the Académie, contributed to the rich tapestry of mid-17th century French art.
Later Career and Stylistic Refinements
In the later part of his career, from the late 1640s until his death, La Hyre's style continued to evolve, often showing an increased interest in landscape and a further refinement of his classical vision. His figures sometimes became more slender, and his compositions achieved an even greater sense of serenity and poetic harmony. The landscapes in his later works are not mere backdrops but integral components of the composition, often imbued with a soft, atmospheric light and a meticulous attention to natural detail, reminiscent of the idealized landscapes of Claude Lorrain, yet filtered through La Hyre's own gentle sensibility.
His palette in these later years could become cooler and more silvery, contributing to the ethereal quality of some of his paintings. Works from this period, such as Landscape with Swimmers (1653) or Christ Appearing to the Three Marys (1655), exemplify this mature phase, where narrative, figure, and landscape are seamlessly integrated into a harmonious whole. He continued to receive important commissions, and his reputation as one of Paris's leading painters remained secure.
Legacy and Enduring Influence
Laurent de La Hyre died in Paris on December 28, 1656, at the relatively young age of fifty. Despite his comparatively short life, his contribution to French art was substantial. He was a key figure in the development of French Classicism, offering a refined and elegant alternative to the more dramatic Baroque styles. His emphasis on clarity, harmony, and graceful execution resonated with the French taste for order and intellectual poise.
His most direct influence was on artists like Eustache Le Sueur, who carried forward a similar strain of gentle classicism. More broadly, La Hyre contributed to the artistic climate that would see the full flowering of French Classicism under Louis XIV, championed by artists like Charles Le Brun. While Le Brun’s style would evolve into a grander, more overtly propagandistic form of classicism in service of the monarchy, the foundations laid by artists like La Hyre, with their commitment to classical principles and technical refinement, were crucial.
His works are preserved in major museums worldwide, including the Louvre in Paris, which holds a significant collection, as well as museums in Strasbourg, Rouen, Le Mans, and beyond. Through these collections, and through scholarly study, La Hyre's art continues to be appreciated for its distinctive blend of elegance, intellectual depth, and painterly skill. He remains a testament to the rich artistic currents of 17th-century France and a pivotal figure in the establishment of a national classical tradition.
Conclusion: A Master of Refined Classicism
Laurent de La Hyre carved a unique niche in the complex art world of 17th-century France. Without the direct experience of Italy, he absorbed and transformed Italianate influences, melding them with a native French sensibility to create a style characterized by grace, clarity, and harmonious beauty. His contributions to religious, mythological, and landscape painting, coupled with his foundational role in the Académie Royale, solidify his importance. He was an artist who valued thoughtful composition, elegant figuration, and a subtle, poetic mood over overt drama or ostentation. In the grand narrative of French art, Laurent de La Hyre stands as a distinguished proponent of Parisian Atticism, an artist whose refined classicism provided a significant voice in the cultural chorus of his time and left an indelible mark on the generations that followed. His legacy is one of quiet mastery and enduring elegance, a painter whose works continue to charm and edify.
