See also:

• NICOLAS
• NICOLAS, SIR NICHOLAS HARRIS (1799–1848)

NICOLAS See also:

• NICOLAS LANCRET (1660-1743)

LANCRET (1660-1743)  , See also:

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

French painter, was See also:

• BORN, IGNAZ, EDLER VON (1742–1791)

born in 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 22nd of See also:

• JANUARY

January 166o, and became a brilliant depicter of See also:

• LIGHT

light See also:

• COMEDY

comedy which reflected the tastes and See also:

• MANNERS, CHARLES (1857– )

manners of French society under the See also:

• REGENT (from Lat. regere, to rule)

regent See also:

• ORLEANS
• ORLEANS, CHARLES, DUKE OF (1391-1465)
• ORLEANS, DUKES OF
• ORLEANS, FERDINAND PHILIP LOUIS CHARLES HENRY, DUKE OF (1810-1842)
• ORLEANS, HENRI, PRINCE
• ORLEANS, HENRIETTA, DUCHESS
• ORLEANS, JEAN BAPTISTE GASTON, DUKE
• ORLEANS, LOUIS
• ORLEANS, LOUIS PHILIPPE JOSEPH
• ORLEANS, LOUIS PHILIPPE ROBERT, DUKE
• ORLEANS, LOUIS PHILIPPE, DUKE OF (1725–1785)
• ORLEANS, LOUIS, DUKE OF (1372–1407)
• ORLEANS, PHILIP I
• ORLEANS, PHILIP II

Orleans . His first 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 was See also:

• PIERRE

Pierre d'Ulin, but his acquaintance with and admiration for See also:

• WATTEAU, ANTOINE (1684-1721)

Watteau induced him to leave d'Ulin for See also:

• GILLOT, CLAUDE (1673-1722)

Gillot, whose See also:

• PUPIL (Lat. pupillus, orphan, minor, dim. of pupus, boy, allied to puer, from root pm- or peu-, to beget, cf. "pupa," Lat. for " doll," the name given to the stage intervening between the larval and imaginal stages in certain insects)

pupil Watteau had been . Two pictures painted by See also:

• LANCRET, NICOLAS (1660-1743)

Lancret and exhibited on the See also:

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

Place See also:

• DAUPHINE

Dauphine had a See also:

• GREAT

great success, which laid the See also:

• FOUNDATION (Lat. fundatio, from fundare, to found)

foundation of his See also:

• FORTUNE, ROBERT (1813-188o)

fortune, and, it is said, estranged Watteau, who had been complimented as their author . Lancret's See also:

• WORK

work cannot now, however, be taken for that of Watteau, for both in See also:

• DRAWING

drawing and in See also:

• PAINTING

painting his See also:

• TOUCH (derived through Fr. toucher from a common Teutonic and Indo-Germanic root, cf. " tug," " tuck," O. H. Ger. zucchen, to twitch or draw)

touch, although intelligent, is dry, hard and wanting in that quality which distinguished his great See also:

• MODEL (0. Fr. modelle, mod. modele; It. modello, pattern, mould; from Lat. modus, measure, standard)

model; these characteristics are due possibly in See also:

• PART

part to the fact that he had been for some 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 in training under an engraver . The number of his paintings (of which over eighty have been engraved) is immense; he executed a few portraits and attempted See also:

• HISTORICAL

historical See also:

• COMPOSITION
• COMPOSITION (Lat. compositio, from componere, to put together)

composition, but his favourite subjects were balls, fairs, See also:

• VILLAGE

village weddings, &c . The See also:

• BRITISH

British Museum possesses an admirable See also:

• SERIES (a Latin word from serere, to join)

series of studies by Lancret in red See also:

• CHALK

chalk, and the See also:

• NATIONAL

National See also:

• GALLERY (through Ital. galleria, from Med. Lat. galeria, of which the origin is unknown)

Gallery, See also:

• LONDON

London, shows four paintings—the " Four Ages of See also:

• MAN
• MAN, ISLE OF (anc. Mona)

Man " (engraved by Desplaces and 1'Armessin), cited by d'Argenville amongst the See also:

• PRINCIPAL

principal See also:

• WORKS

works of Lancret . In 1719 he was received as Academician, and became councillor in 1735; in 1741 he married a grandchild of See also:

• BOURSAULT, EDME (1638-1701)

Boursault, author of See also:

• AESOP (Gr. Aivwvros)

Aesop at See also:

• COURT
• COURT (from the O. Fr. court, Late Lat. cortis, curtis, a popular form of class. Lat. cohors, gen. cohortis; the mod. Fr. form tour is due to the influence of the Lat. curia, the word used in medieval documents to translate " court " in the feudal sense)
• COURT, ANTOINE (1696-176o)

Court . He died on the 14th of See also:

• SEPTEMBER (Lat. septem, seven)

September 1743 . See d'Argenville, Vies See also:

• DES

des peintres; and See also:

• BALLOT (from Ital. ballotta, dim. of balla, a ball)

Ballot de Sovot, Eloge de M . Lancret (1743, new ed . 1874) .