Nicolas-Henri Jeaurat de Bertry stands as a noteworthy, if sometimes overlooked, figure in the rich tapestry of 18th-century French art. Primarily recognized for his meticulous still life paintings, he navigated a dynamic artistic landscape, from the waning years of the Rococo to the tumultuous period of the French Revolution. His career, marked by academic recognition, royal patronage, and a steadfast dedication to his chosen genre, offers a fascinating glimpse into the life of an artist working in the shadow of giants yet carving out his own niche.
Early Life and Artistic Lineage
Born in Paris on July 28, 1728, Nicolas-Henri Jeaurat de Bertry was immersed in an artistic environment from a young age. He was the son of Edme Jeaurat (also spelled Edmond), a respected engraver who held the prestigious title of graveur du Roi (Engraver to the King). Edme Jeaurat was known for his skillful engravings after works by prominent artists and for his marriage to the sister of the artist Le Clerc, further cementing the family's ties within the Parisian art world.
This artistic heritage was perhaps most significantly embodied by Nicolas-Henri's uncle, Étienne Jeaurat. Étienne was a highly successful painter of genre scenes, often depicting everyday Parisian life with a lively and observant eye. He rose to prominence within the Royal Academy of Painting and Sculpture, eventually becoming its Chancellor and a guard of the King's paintings at Versailles. Growing up with such influential figures in his immediate family undoubtedly shaped Nicolas-Henri's aspirations and provided him with foundational exposure to artistic practice and the workings of the art establishment. The addition of "de Bertry" to his surname is believed by some historians to have been an affectation, possibly adopted to lend an air of aristocratic standing, a common practice in an era where social status could significantly impact an artist's career.
Artistic Development and the Influence of Chardin
While details of his formal training are not extensively documented, it is highly probable that Nicolas-Henri received initial instruction from his father, Edme, in the fundamentals of drawing and composition, and was certainly influenced by the work and career of his uncle, Étienne. However, in the realm of still life painting, the artist who cast the longest shadow over Jeaurat de Bertry, and indeed over all still life painters of the era in France, was Jean-Baptiste-Siméon Chardin.
Chardin, celebrated for his intimate and masterfully rendered still lifes and genre scenes, elevated these ostensibly humble subjects to a level of profound artistry. His ability to capture the texture, weight, and quiet dignity of everyday objects was unparalleled. Nicolas-Henri Jeaurat de Bertry was clearly inspired by Chardin's thematic concerns and his focus on kitchen utensils, food items, and the accoutrements of domestic life.
However, contemporary and later art historical assessments often distinguish Jeaurat de Bertry's style from that of Chardin. While Chardin's work is characterized by its subtle harmonies, soft light, and rich, tactile paint application, Jeaurat de Bertry's approach is frequently described as "drier" and "coarser." This suggests a more meticulous, perhaps less atmospheric rendering, with a sharper definition of forms and a less sensuous handling of paint. Despite these stylistic differences, the thematic resonance with Chardin's oeuvre is undeniable, and Jeaurat de Bertry's dedication to the still life genre contributed to its continued appreciation during a period when history painting was often considered the noblest pursuit.
Academic Recognition and Royal Patronage
Nicolas-Henri Jeaurat de Bertry's talent and diligence did not go unnoticed by the artistic authorities of his time. In 1756, a significant milestone in his career, he was elected as a member (académicien) of the prestigious Royal Academy of Painting and Sculpture. This was a considerable honor, granting him official recognition and the right to exhibit at the Salons, the regular public exhibitions that were crucial for an artist's reputation and commercial success. His reception piece for the Academy was likely a still life, demonstrating his proficiency in his chosen specialization.
Later that same year, he was also appointed as a professor at the Academy. This dual role as academician and professor underscored his standing within the artistic community and his perceived ability to impart artistic knowledge. His connections, including his uncle Étienne Jeaurat's influential position within the Academy, may have played a role, but his own artistic merit was the primary basis for these appointments.
Further enhancing his status, in 1761, Jeaurat de Bertry received a significant mark of royal favor. He was appointed as the private painter (peintre particulier) and court draftsman (dessinateur de cabinet) to Queen Marie Leszczyńska, the Polish-born wife of King Louis XV. This position came with an annual pension of 400 livres and provided him with lodging in the Louvre Palace, which at the time housed artists' studios and apartments. He continued to live and work in the Louvre until the Queen's death in 1768 (not 1786, as some sources mistakenly suggest, as the Queen passed away much earlier). This royal patronage provided him with financial stability and prestige, allowing him to focus on his artistic production.
Mastery of Still Life: Themes and Techniques
Jeaurat de Bertry's oeuvre is dominated by still life compositions. He excelled in depicting arrangements of kitchenware, game, fruits, vegetables, and flowers. His works often feature a careful, almost inventory-like presentation of objects, meticulously rendered with attention to detail and texture.
Among his known works, several titles give an indication of his thematic range. Paintings such as Le Déjeuner gras (The Rich Lunch or Fat Lunch) and Le Déjeuner maigre (The Lean Lunch or Meager Lunch) suggest a pairing common in 17th and 18th-century art, contrasting abundance with simplicity, or perhaps alluding to religious observances dictating dietary restrictions. These works would have allowed him to showcase a variety of foodstuffs and tableware, from humble earthenware to more refined silver.
A notable example of his skill is Still Life with Rose, Tulips, and Oranges, sometimes dated to around 1757 (though some sources give a much later, likely erroneous, 19th-century date). Such floral and fruit pieces were popular, allowing artists to display their ability to capture delicate textures and vibrant colors. His compositions often demonstrate a strong sense of order and balance, even when depicting a seemingly casual array of objects.
Another significant work, Nature morte à l’égrougeoir et à la tête de mouton (Still Life with Slaughtering Block and Sheep's Head), now attributed to him by the Louvre Museum, points to a more rustic, perhaps even starker, side of his still life production, reminiscent of the "kitchen and market" scenes popularised by Dutch and Flemish masters like Frans Snyders or Adriaen van Utrecht, and continued in France by artists like Jean-Baptiste Oudry and Alexandre-François Desportes, though the latter two were more known for their grander hunting scenes and animal portraiture.
His Still Life with Musical Instruments and a French Overture Manuscript indicates a foray into another common still life subgenre, the "vanitas" or allegorical still life, where musical instruments, scores, and other objects could symbolize the transience of life, the fleeting nature of pleasure, or the harmony of the arts. This type of painting had a long tradition, with Dutch artists like Evert Collier or Pieter Claesz being early exponents.
One of his most discussed works is Perroquet et trophée de classes (Parrot and Trophy of Classes). This painting, often described as being in a Flemish style, likely featured a parrot, a popular exotic pet and artistic subject, alongside objects perhaps symbolizing learning or different societal strata. The depiction of animals within still life compositions was a skill honed by artists like Jean-Baptiste Monnoyer, known for his flower pieces but also for incorporating birds.
Navigating the French Revolution
The outbreak of the French Revolution in 1789 brought profound changes to French society and its artistic institutions. The Royal Academy, seen as a symbol of the Ancien Régime, was eventually suppressed in 1793. For artists like Jeaurat de Bertry, who had built their careers within this system and enjoyed royal patronage, it was a period of uncertainty and adaptation.
During the revolutionary years, Jeaurat de Bertry is known to have created works with symbolic and political overtones. One such piece is described as Pyramid, Tricolor Flag, and Masonic Eye. This imagery clearly aligns with the new republican symbolism and suggests an attempt by the artist to engage with, or at least acknowledge, the prevailing political currents. The pyramid and the Masonic eye were potent symbols often associated with Enlightenment ideals and revolutionary fervor. He also reportedly created works commemorating the philosopher Jean-Jacques Rousseau, whose ideas on social contract and natural rights were highly influential for the revolutionaries.
Despite these efforts, the revolutionary period seems to have brought personal hardships. In 1792, he found himself in need of suitable accommodation and petitioned for the reallocation of an apartment in the Louvre that had previously been granted to another artist, Guillaume-Benjamin-Antoine Courtois (also known as Jacques Courtois or Le Bourguignon, though this usually refers to an earlier battle painter). His request was unfortunately denied, highlighting the precarious situation many artists faced as old systems of patronage and support crumbled.
Later Years and Legacy
Nicolas-Henri Jeaurat de Bertry continued to exhibit his work. His last recorded participation in the Salon was in 1796. By this time, the artistic landscape was shifting towards Neoclassicism, championed by figures like Jacques-Louis David. While still life remained a respected genre, the grand historical and allegorical paintings of the Neoclassical school increasingly dominated official exhibitions.
After his final Salon appearance, Jeaurat de Bertry is believed to have returned to his hometown or a place of family origin, where he lived out his remaining years. He passed away on November 16, 1796 (though some sources state 1797 or even later, the 1796 date appears more consistently in reliable records).
In the annals of art history, Nicolas-Henri Jeaurat de Bertry is often mentioned in relation to Chardin, primarily as an artist who worked in a similar vein but with a distinct, perhaps less universally lauded, touch. His works have occasionally been misattributed, sometimes to Chardin himself, or even to later artists like Henri Rivière (a late 19th/early 20th-century artist, making this attribution highly unlikely for authentic period works but indicative of potential later confusions in cataloging).
Despite not achieving the same level of fame as Chardin, or other Rococo masters like François Boucher or Jean-Honoré Fragonard, or the genre specialist Jean-Baptiste Greuze, Jeaurat de Bertry made a consistent and skilled contribution to French still life painting for several decades. His career reflects the trajectory of many competent and professional artists of his time: solid academic training, successful navigation of the Academy system, attainment of royal patronage, and adaptation to changing artistic and political climates.
His paintings, found in various museum collections, including the Louvre, stand as testaments to his dedication to the art of still life. They offer valuable insights into the material culture, aesthetic preferences, and artistic practices of 18th-century France. Artists like Anne Vallayer-Coster, a contemporary who also excelled in still life and gained admission to the Academy, further demonstrate the vitality of this genre during the period. Jeaurat de Bertry's meticulous rendering and thoughtful compositions ensure his place as a significant practitioner within this tradition, a peer of other skilled still-life painters who may not have reached the absolute pinnacle of fame but whose collective work enriched the artistic fabric of their era, an era that also saw the talents of portraitists like Jean-Marc Nattier and history painters like Carle Van Loo shaping the visual culture.
Conclusion
Nicolas-Henri Jeaurat de Bertry was an artist of considerable skill and dedication, whose career spanned a pivotal period in French art history. As the son of an engraver and nephew of a prominent academician, he was well-positioned to pursue an artistic career. He distinguished himself as a painter of still lifes, drawing inspiration from the great Chardin yet developing a personal style characterized by meticulous detail and clear composition. His election to the Royal Academy, his role as a professor, and his service as a painter to Queen Marie Leszczyńska attest to his contemporary recognition.
Through the tumultuous years of the French Revolution, he adapted his art to reflect new symbolic languages, though he also faced personal challenges. His legacy resides in his carefully crafted still life paintings, which capture the quiet beauty of everyday objects and offer a window into the artistic currents of 18th-century France. While perhaps not a revolutionary innovator, Nicolas-Henri Jeaurat de Bertry was a steadfast and talented contributor to a genre that continued to flourish, providing a counterpoint to the grander narratives of history painting and the decorative exuberance of the Rococo. His work merits appreciation for its technical proficiency and its earnest engagement with the enduring appeal of the still life.
