See also:

• JEAN

JEAN GERMAIN See also:

• JEAN GERMAIN DROUAIS (1763-1788)

DROUAIS (1763-1788)  , See also:

• FRENCH
• FRENCH, DANIEL CHESTER (1850– )
• FRENCH, NICHOLAS (1604-1678)

French See also:

• HISTORICAL

historical painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born at See also:

• PARIS
• PARIS (also called ALEXANDROS)
• PARIS, ALEXIS PAULIN (1800-x881)
• PARIS, BRUNO PAULIN GASTON (1839-1903)
• PARIS, FRANCOIS DE (169o-1727)
• PARIS, LOUIS PHILIPPE ALBERT
• PARIS, TREATIES OF (1814-1815)

Paris on the 25th of See also:

• NOVEMBER (Lat. novem, nine)

November 1763 . His See also:

• FATHER

father, See also:

• FRANCOIS (1558-1614)

Francois See also:

• HUBERT (HUCBERTUS, HUGBERTUS), ST (d. 727)

Hubert See also:

• DROUAIS, JEAN GERMAIN (1763-1788)

Drouais; and his grandfather, Hubert Drouais, were well-known portrait painters; and it was from his father that he received his first See also:

• ARTISTIC

artistic instruction . He was after-wards entrusted to the care of Brenet, an excellent teacher, though his own pictures did not take high See also:

• RANK (O.Fr. rant or rent, mod. rang, generally connected with the O.E. and O.H.G. bring, a ring)

rank . In 178o See also:

• DAVID
• DAVID (a Hebrew name meaning probably beloved 1)
• DAVID, FELICIEN (1810—1876)
• DAVID, GERARD [GHEERAERT DAVIT], (?=1523)
• DAVID, PIERRE JEAN (1789–1856)
• DAVID, ST (Dewi, Sant)

David, who had just returned from See also:

• ROME
• ROME (Roma)

Rome, opened a school of See also:

• PAINTING

painting in Paris, and Drouais was one of his earliest and most promising pupils . He adopted the classical See also:

• STYLE
• STYLE (from Gr. a-6'1ms, a column; a different word from that used in literature, see below)

style of his See also:

• MASTER (Lat. magister, related to tnagis, more, as the corresponding minister is to minus, less; the English form is due partly to the O. Eng. maegister, and partly to O. Fr. maistre, mod. maitre; cf. Du. meester, Ger. Meister, Ital. maestro)

master, and gave his whole See also:

• TIME (0. Eng. Lima, cf. Icel. timi, Swed. timme, hour, Dan. time; from the root also seen in " tide," properly the time of between the flow and ebb of the sea, cf. O. Eng. getidan, to happen, " even-tide," &c.; it is not directly related to Lat. tempus)
• TIME, MEASUREMENT OF
• TIME, STANDARD

time to study—painting during the See also:

• DAY (O. Eng. dreg, Ger. Tag; according to the New English Dictionary, " in no way related to the Lat. dies")
• DAY, JOHN (1574-1640?)
• DAY, THOMAS (1748-1789)

day, and spending a See also:

• GREAT

great See also:

• PART

part of every See also:

• NIGHT

night in designing . For See also:

• WEEKS, EDWIN LORD (1849-1903)

weeks together it is said that he never See also:

• LEFT

left his studio . In 1783 he was admitted to compete for the great See also:

• PRIZE, or PRIZE OF WAR (Fr. prise, from prendre, to take)

prize of painting offered by the See also:

• ACADEMY, GREEK
• ACADEMY, ROYAL

Academy, the subject being the " Widow of Nain." After inspecting the See also:

• WORKS

works of his See also:

• FELLOW

fellow-competitors, however, he lost See also:

• HOPE, ANTHONY
• HOPE, THOMAS (c. 1770-1831)

hope and destroyed his own See also:

• CANVAS

canvas, but was consoled by the assurance of his master David that had he not done so he would have won the prize . Next See also:

• YEAR

year he was triumphantly successful, the " Woman of See also:

• CANAAN, CANAANITES

Canaan at the Feet of See also:

• CHRIST (Gr. X pLQTOS, Anointed)
• CHRIST, WILHELM VON (1831-1906)

Christ," with which he gained the prize, being compared by competent critics with the works of Poussin . He was carried See also:

• SHOULDER (in O.E. sculder, cognate with Ger. Schulter, Dutch schouder, Swed. skuldra, &c; the root is unknown)

shoulder high by his fellow-students through the streets to his See also:

• MOTHER

mother's See also:

• HOUSE
• HOUSE (O. Eng. hiss, a word common to Teutonic languages, cf. Dut. huis, Ger. Haus; in Gothic it is only found in gudhiss, a temple; it may be ultimately connected with the root of " hide," conceal)

house, and a See also:

• PLACE (through Fr. from Lat. platea, street; Gr. IrAar6s, wide)

place was afterwards found for his picture in the Louvre . His success making him only the more eager to perfect himself in his See also:

• ART

art, he accompanied David to Rome, where he worked even more assiduously than in Paris . He was most strongly influenced by the remains of See also:

• ANCIENT
• ANCIENT (also spelt ANTIENT; derived, through the Fr. ancien, old, from the late Lat. antianum, from ante, before)

ancient art and by the works of See also:

• RAPHAEL (Hebrew smm, " God heals ")

Raphael . See also:

• GOETHE, JOHANN WOLFGANG VON (1749-1832)

Goethe, who was at Rome at the time it was finished, has recorded the deep impression made by his " See also:

• MARIUS, GAIUS (r55–86 B.c.)

Marius at Minturno," which he characterizes as in some respects See also:

• SUPERIOR

superior to the See also:

• WORK

work of David, his master .

The last picture which he completed was his Philoctetus on the See also:

• ISLAND (O.E. ieg =isle, +land')

Island of See also:

• LEMNOS (mod. Limnos)

Lemnos." He died on the 15th of See also:

• JULY

July' 1788 . A See also:

• MONUMENT (Lat. monumentum or monumentum; from monere, to advise, bring to mind, remind; the German equivalent is Denkmal)

monument to his memory was erected by his fellow-students in the See also:

• CHURCH
• CHURCH (according to most authorities derived from the Gr. Kvpcaxov [&wµa], " the Lord's [house]," and common to many Teutonic, Slavonic and other languages under various forms—Scottish kirk, Ger. Kirche, Swed. kirka, Dan. kirke, Russ. tserkov, Buig. cerk
• CHURCH, FREDERICK EDWIN (1826-1900)
• CHURCH, GEORGE EARL (1835–1910)
• CHURCH, RICHARD WILLIAM (1815–189o)
• CHURCH, SIR RICHARD (1784–1873)

church of See also:

• SANTA

Santa Maria in the Via Lata .