30/12/24 – Acquisition – New York, The Metropolitan Museum of Art – Much less known than his contemporaries, Chardin and Greuze, to whom he was compared, Nicolas-Bernard Lépicié undoubtedly deserves a spotlight on his work. A painter of both history and genre scenes, he first trained in the art of engraving with his father François-Bernard Lépicié, then in painting with Carle Van Loo, obtaining second prize in Rome in 1758 for his interpretation of Miracle of the prophet Elisha. His pleasure piece at the Royal Academy completed in 1764, The Descent of William the Conqueror into Englandwas not fortunate enough to please Diderot who did not live there “ neither harmonies nor noblesse » ; he was then received with Achilles and the Centaur in 1769, became assistant professor in 1777, then professor in 1779 and counted among the students of his workshop Carle Vernet and even Jean-Baptiste Regnault.
He painted a number of compositions for the Crown, such as Adonis changed into an anemone (1669) et Narcisse (1771) for the Petit Trianon.
The painter also exhibited portraits, particularly of children, and scenes of family intimacy which aroused greater enthusiasm from critics and the public. “ Lépicié always gets tasted when he doesn't want to elevate himself to the genre of history » commented Bachaumont while Cochin affirmed that he was comparable to David Téniers the elder; in any case he was sensitive to the art of the Flemish and Dutch masters.
- 1. Nicolas-Bernard Lépicié (1735-1784)
The Interior of a Customs House1775
Oil on canvas – 98 x 164 cm
Madrid, Musée Thyssen-Bornemisza
Photo : Wikipedia (domaine public)
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See the image on his page
- 2. Nicolas-Bernard Lépicié (1735-1784)
The interior of a large hall1778
Oil on canvas – 98 x 164 cm
Private collection
Photo : Domaine public
-
See the image on his page
Anxious to illustrate the responsibilities entrusted to him by King Louis…
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