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ROBERT See also: line-engraver, was See also: born about 1623, or, as other authorities See also: state, in 1630, the son of a See also: merchant of See also: Reims
.
Having received an excellent classical See also: education, he studied See also: engraving under his See also: brother-in-See also: law, See also: Nicholas Regnesson; and, his crayon portraits having attracted See also: attention, he was pensioned by See also: Louis XIV. and appointed designer and engraver of the
See also: cabinet to that monarch
.
It was mainly due to his influence that the See also: king granted the edict of 1660, dated from St
See also: Jean de Luz, by which engraving was pronounced See also: free and distinct from the See also: mechanical arts, and its practitioners were declared entitled to the privileges of other artists
.
He died at See also: Paris in 1678
.
The plates of See also: Nanteuil, several of them approaching the See also: scale of See also: life, number about three See also: hundred
.
In his early practice he imitated the technique of his predecessors, working with straight lines, strengthened, but not crossed, in the shadows, in the See also: style of See also: Claude Mellan, and in other prints See also: cross-hatching like Regnesson, or stippling in the manner of Jean Boulanger; but he gradually asserted his full individuality, modelling the faces of his portraits with the utmost precision and completeness, and employing various methods of touch for the draperies and other parts of his plates
.
Among the finest See also: works of his fully See also: developed See also: period may be named the portraits of Pomponne de Bellievre, Gilles See also: Menage, Jean Loret, the duc de la Meilleraye and the duchess de Nemours
.
A See also: list of his works will be found in Dumesnil's Le Peintre-graveur See also: francais, vol. iv
.
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