1.
Thomas Lawrence
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Sir Thomas Lawrence PRA FRS was a leading English portrait painter and the fourth president of the Royal Academy. He was born in Bristol and began drawing in Devizes, where his father was an innkeeper, at the age of ten, having moved to Bath, he was supporting his family with his pastel portraits. At eighteen he went to London and soon established his reputation as a painter in oils, receiving his first royal commission. He stayed at the top of his profession until his death, aged 60, self-taught, he was a brilliant draughtsman and known for his gift of capturing a likeness, as well as his virtuoso handling of paint. He became an associate of the Royal Academy in 1791, a member in 1794. Lawrences love affairs were not happy and, in spite of his success, at his death, Lawrence was the most fashionable portrait painter in Europe. His reputation waned during Victorian times, but has since been partially restored, Thomas Lawrence was born at 6 Redcross Street, Bristol, the youngest surviving child of Thomas Lawrence, a supervisor of excise, and Lucy Read, the daughter of a clergyman. The couple had 16 children but only five survived infancy, Lawrences brother Andrew became a clergyman, William had a career in the army, sisters Lucy and Anne married a solicitor and a clergyman. Soon after Thomas was born his father decided to become an innkeeper and took over the White Lion Inn and next-door American Coffee House in Broad Street, Bristol. It was during the familys stay at the Black Bear Inn that Lawrence senior began to make use of his sons precocious talents for drawing and reciting poetry. Visitors would be greeted with the words Gentlemen, heres my son – will you have him recite from the poets, among those who listened to a recitation from Tom, or Tommy as he was called, was the actor David Garrick. Lawrences formal schooling was limited to two years at The Fort, a school in Bristol, when he was aged six to eight, and he also became accomplished in dancing, fencing, boxing and billiards. But once again Lawrence senior failed as a landlord and, in 1779, he was declared bankrupt, from now on, Lawrence was to support his parents with the money he earned from his portraits. The family settled at 2 Alfred Street in Bath, and the young Lawrence established himself as a portraitist in pastels, the oval portraits, for which he was soon charging three guineas, were about 12 inches by 10 inches, and usually portrayed a half-length. His sitters included the Duchess of Devonshire, Sarah Siddons, Sir Henry Harpur, Warren Hastings, sometime before his eighteenth birthday in 1787 Lawrence arrived in London, taking lodgings in Leicester Square, near to Joshua Reynolds studio. He was introduced to Reynolds, who advised him to study nature, Lawrence set up a studio at 41 Jermyn Street and installed his parents in a house in Greek Street. In the Royal Academy exhibition of 1788 Lawrence was represented by five portraits in pastels and one in oils, a medium he quickly mastered. Between 1787 and his death in 1830 he would miss two of the annual exhibitions, once,1809, in protest about the way his paintings had been displayed and once, in 1819
2.
Augustin Pajou
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Augustin Pajou was a French sculptor, born in Paris. At eighteen he won the Prix de Rome, and at thirty exhibited his Pluton tenant Cerbère enchaîné, pajous portrait busts of Buffon and of Madame du Barry, and his statuette of Bossuet, are amongst his best works. When Bernard Poyet constructed the Fontaine des Innocents from the edifice of Pierre Lescot. Mention should also be made of his bust of Carlin Bertinazzi at the Comédie Française, Pajou was one of the main artists whose work was included in the collection of the Comédie-Française at the end of the 18th century. Others were Jean-Baptiste dHuez, Jean-Joseph Foucou, Simon-Louis Boizot and Pierre-François Berruer, Pajou was commissioned by Napoleon to make the copies of the Medici Lions now situated in the garden of the Villa Medici 1803. Pajou died in Paris on 8 May 1809, the Courtauld Institute of Art, the Frick Collection, Harvard University Art Museums, the Hermitage Museum, the Honolulu Museum of Art, the J. In 1795 she remarried to Pierre-Louis Martin, known as Saint-Martin who, after several careers, an amateur artist and collector, Saint-Martine produced several paintings of the city of Liège and had his portrait painted by Philippe-Auguste Hennequin. Flore divorced her husband in year 10 and died on 9 December 1841 at 30 rue de lOdéon in Paris. Attribution This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Pajou
3.
Nicolas-Guy Brenet
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Nicolas-Guy Brenet was a French history painter. Brenet was born and died in Paris and he studied in the atelier of François Boucher, but abandoned his masters rococo manner in the 1760s, to paint in a conscious revival of the academic classicism of Nicolas Poussin. His cycle of paintings for Montmerle Charterhouse near Dijon lies securely in the mainstream of French religious painting. His enormous Battle of the Greeks and Trojans over the Body of Patroclus is an example of the new direction of art in France. In his unusual and precocious choice of subjects, as they were commissioned by the official Bâtiments du roi. His son, also a painter, was Nicolas-Guy-Antoine Brenet
4.
Jacques-Louis David
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Jacques-Louis David was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. David later became a supporter of the French Revolution and friend of Maximilien Robespierre. Imprisoned after Robespierres fall from power, he aligned himself with yet another political regime upon his release, at this time he developed his Empire style, notable for its use of warm Venetian colours. After Napoleons fall from Imperial power and the Bourbon revival, David exiled himself to Brussels, then in the United Kingdom of the Netherlands, where he remained until his death. David had a number of pupils, making him the strongest influence in French art of the early 19th century. Jacques-Louis David was born into a family in Paris on 30 August 1748. When he was nine his father was killed in a duel. He covered his notebooks with drawings, and he said, I was always hiding behind the instructors chair. Soon, he desired to be a painter, but his uncles and he overcame the opposition, and went to learn from François Boucher, the leading painter of the time, who was also a distant relative. Boucher was a Rococo painter, but tastes were changing, Boucher decided that instead of taking over Davids tutelage, he would send David to his friend, Joseph-Marie Vien, a painter who embraced the classical reaction to Rococo. There David attended the Royal Academy, based in what is now the Louvre, each year the Academy awarded an outstanding student the prestigious Prix de Rome, which funded a three- to five-year stay in the Eternal City. Each pensionnaire was lodged in the French Academys Roman outpost, which from the years 1737 to 1793 was the Palazzo Mancini in the Via del Corso. David competed for, and failed to win, the prize for three years, each failure contributing to his lifelong grudge against the institution. After his second loss in 1772, David went on a hunger strike, confident he now had the support and backing needed to win the prize, he resumed his studies with great zeal—only to fail to win the Prix de Rome again the following year. Finally, in 1774, David was awarded the Prix de Rome on the strength of his painting of Erasistratus Discovering the Cause of Antiochus Disease, a subject set by the judges. In October 1775 he made the journey to Italy with his mentor, Joseph-Marie Vien, while in Italy, David especially studied the works of 17th-century masters such as Poussin, Caravaggio, and the Carracci. Mengs principled, historicizing approach to the representation of classical subjects profoundly influenced Davids pre-revolutionary painting, such as The Vestal Virgin, mengs also introduced David to the theoretical writings on ancient sculpture by Johann Joachim Winckelmann, the German scholar held to be the founder of modern art history. In 1779, David toured the newly excavated ruins of Pompeii, while in Rome, David also assiduously studied the High Renaissance painters, Raphael making a profound and lasting impression on the young French artist
5.
Engraving
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Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it. Wood engraving is a form of printing and is not covered in this article. Engraving was an important method of producing images on paper in artistic printmaking, in mapmaking. Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving, hand engraving is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also engraved, using just the same techniques to make the lines in the plate. Each graver is different and has its own use, engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes, dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system, there are versions for the insides of rings and also the outsides of larger pieces. Such machines are used for inscriptions on rings, lockets. Gravers come in a variety of shapes and sizes that yield different line types, the burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for work on letters, as well as wriggle cuts on most musical instrument engraving work, remove background. Knife gravers are for line engraving and very deep cuts, round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts, as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines, V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points, other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for stone setting techniques
6.
Nobility of the First French Empire
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Napoleon I created titles of nobility to institute a stable elite in the First French Empire, after the instability resulting from the French Revolution. Like many others, both before and since, Napoleon found that the ability to confer titles was also a tool of patronage which cost the state little treasure. The Grand Dignitaries of the Empire ranked, regardless of noble title, enoblement started in 1804 with the creation of the princely title for members of Napoleons imperial family. In 1806 ducal titles were created and in 1808 those of count, baron, Napoleon founded the concept of nobility of Empire by an imperial decree on 1 March 1808. The purpose of creation was to amalgamate the old nobility. This step, which aimed at the introduction of a elite, is fully in line with the creation of the Legion of Honour. A council of the seals and the titles was created and charged with establishing armorial bearings. These creations are to be distinguished from an order such as the Order of the Bath. These titles of nobility did not have any true privileges, with two exceptions, right of bearing, the lands granted with the title were held in a majorat. This nobility is essentially a nobility of service, to a large extent made up of soldiers, some civil servants, there were 239 remaining families belonging to the First Empire nobility in 1975. Of those, perhaps about 135 were titled, only one princely title and seven ducal titles remain today. Along with a new system of titles of nobility, the First French Empire also introduced a new system of heraldry, Napoleonic heraldry was based on traditional heraldry but was characterised by a stronger sense of hierarchy. It employed a system of additional marks in the shield to indicate official functions and positions. Another notable difference from traditional heraldry was the toques, which replaced coronets, the toques were surmounted by ostrich feathers, dukes had 7, counts had 5, barons 3, knights 1. The number of lambrequins was also regulated,3,2,1, as many grantees were new men, and the arms often alluded to their life or specific actions, many new or unusual charges were also introduced. The most characteristic mark of Napoleonic heraldry was the additional marks in the shield to indicate official functions and positions and these came in the form of quarters in various colours, and would be differenced further by marks of the specific rank or function. The said marks of the rank or function as used by Barons. A decree of 3 March 1810 states, The name, arms and this provision applied only to the bearers of Napoleonic titles
7.
Prix de Rome
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The Prix de Rome was a French scholarship for arts students, initially for painters and sculptors, that was established in 1663 during the reign of Louis XIV of France. Winners were awarded a bursary that allowed them to stay in Rome for three to five years at the expense of the state, the prize was extended to architecture in 1720, music in 1803, and engraving in 1804. The prestigious award was abolished in 1968 by André Malraux, the Minister of Culture, the Prix de Rome was initially created for painters and sculptors in 1663 in France during the reign of Louis XIV. It was an annual bursary for promising artists having proved their talents by completing a very difficult elimination contest, the prize, organised by the Académie Royale de Peinture et de Sculpture, was open to their students. From 1666, the winner could win a stay of three to five years at the Palazzo Mancini in Rome at the expense of the King of France. In 1720, the Académie Royale d’Architecture began a prize in architecture, six painters, four sculptors, and two architects would be sent to the French Academy in Rome founded by Jean-Baptiste Colbert from 1666. Expanded after 140 years into five categories, the contest started in 1663 as two categories, painting and sculpture, in 1803, music was added, and after 1804 there was a prix for engraving as well. The primary winner took the First Grand Prize and the Second Prizes were awarded to the runners-up, in 1803, Napoleon Bonaparte moved the French Academy in Rome to the Villa Medici with the intention of preserving an institution once threatened by the French Revolution. At first, the villa and its gardens were in a sad state, in this way, he hoped to retain for young French artists the opportunity to see and copy the masterpieces of antiquity and the Renaissance. Jacques-Louis David, having failed to win the three years in a row, considered suicide. Édouard Manet, Edgar Degas, Ernest Chausson and Maurice Ravel attempted the Prix de Rome, but did not gain recognition. Ravel tried a total of five times to win the prize, during World War II the prize winners were accommodated in the Villa Paradiso in Nice. The Prix de Rome was abolished in 1968 by André Malraux, since then, a number of contests have been created, and the academies, together with the Institut de France, were merged by the State and the Minister of Culture. Selected residents now have an opportunity for study during an 18-month stay at The Academy of France in Rome, the heyday of the Prix de Rome was during the late eighteenth and early nineteenth centuries. The Prix de Rome for Architecture was created in 1720, the engraving prize was created in 1804. A Prix de Rome was also established in the Kingdom of Holland by Lodewijk Napoleon to award young artists and architects, during the years 1807–1810 prize winners were sent to Paris and onwards to Rome for study. Suspended in 1851 it was reinstated in 1870 by William III of the Netherlands, since then the winners have been selected by the Rijksakademie in Amsterdam under the main headings of architecture and the visual arts. The Belgian Prix de Rome is an award for artists, created in 1832
8.
Anne-Louis Girodet de Roussy-Trioson
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Anne-Louis Girodet was a French painter and pupil of Jacques-Louis David, who participated in the early Romantic movement by including elements of eroticism in his paintings. Girodet is remembered for his precise and clear style and for his paintings of members of the Napoleonic family and he lost his parents in his early youth. The care of his inheritance and education fell to his guardian, M. Trioson, médecin-de-mesdames, Girodet took the surname Trioson in 1812. In school he first studied architecture and pursued a military career and he changed to the study of painting under a teacher named Luquin and then entered the school of Jacques-Louis David. At the age of 22 he successfully competed for the Prix de Rome with a painting of the Story of Joseph and his Brethren. From 1789 to 1793 he lived in Italy and while in Rome he painted his Hippocrate refusant les presents dArtaxerxes and Endymion-dormant, back in France, Girodet painted many portraits, including some of members of the Bonaparte family. In 1806, in competition with the Sabines of David, he exhibited his Scène de déluge and he returned top his theatrical style in La Révolte du Caire. Girodet was a member of the Academy of Painting and of the Institute of France, a knight of the order of St. Michael, at a sale of his effects after his death, some of his drawings realized enormous prices. Girodet produced a vast quantity of illustrations, amongst which may be cited those for the Didot Virgil, fifty-four of his designs for Anacreon were engraved by M. Châtillon. Delecluze, in his Louis David et son temps, has also a life of Girodet. Girodet, Romantic Rebel was the first retrospective in the United States devoted to the works of Anne-Louis Girodet de Roussy-Trioson, the exhibition assembled more than 100 seminal works that demonstrated the artists range as a painter as well as a draftsman. The peculiarities which mark Girodets position as the herald of the movement are already evident in his Sleep of Endymion. He has an inclination to the ancient style, and a statuary expression is very perceptible in his works. His drawing is correct, and of great precision, his colouring is rich, transparent and he works with equal care and genius. He loves to produce effect by strong lights but they are in unison with the spirit of the pieces. The same incongruity marks Girodets Danae and his Quatre Saisons, executed for the king of Spain, French painting 1774-1830, the Age of Revolution. New York, Detroit, The Metropolitan Museum of Art, The Detroit Institute of Arts, miscellaneous works Three portraits by Girodet Works of Girodet at http, //www. the-athenaeum. org
9.
Louis-Michel le Peletier, marquis de Saint-Fargeau
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Louis-Michel le Peletier, Marquis of Saint-Fargeau was a French politician and martyr of the French revolution. Born in Paris, he belonged to a family, his great-grandfather, Michel Robert Le Peletier des Forts, count of Saint-Fargeau. After the death of his family, Le Peletier gained a vast amount of wealth. He entered into politics by becoming a lawyer in the employ of the Place du Châtelet, in 1785 Le Peletier was advanced to avocat-general. In 1789 he was elected to the Parlement of Paris, initially, he shared the conservative views of the majority of his class, but by degrees his ideas changed and became increasingly radical. On 13 July 1789 he demanded the recall of Necker, whose dismissal by the king had aroused great excitement in Paris, in the Constituent Assembly he moved the abolition of the death penalty, of the galleys and of branding, and the substitution of beheading for hanging. This attitude won him popularity, and on 21 June 1790 he was made president of the Constituent Assembly. He remained in position until 5 July 1790. During the existence of the Legislative Assembly, he was elected President of the General Council for the Yonne département in 1791 and he was then elected by this département to become a deputy to the Convention. Here he was in favor of the trial of Louis XVI by the Assembly and was a vote for the death of the king. While in the Convention, Le Peletier focused mainly on reform of education. It called for both males and females to be taught in schools and taught revolutionary ideas instead of the customary history, science, mathematics, language. His educational plan was supported by Robespierre and his ideas were borrowed in later schemes, on 20 January 1793, the eve of the kings execution, Le Peletier was assassinated in a restaurant in the Palais Royal. His murderer, Philippe Nicolas Marie de Pâris, a member of the Garde du Corps and his assassin fled to Normandy, where, on the point of being discovered, he supposedly shot himself in the head. Other sources claim the real murderer fled to England where he died years later, the Convention honored Louis Michel Le Peletier with a magnificent funeral. His body was displayed in the Place Vendôme beneath the statue of King Louis XIV, Le Peletier was buried in the Panthéon in Paris in 1793. His body was removed by his family on 14 February 1795, the station Saint-Fargeau of the Paris Métro is named for him. A Sèvres biscuit porcelain bust of Louis Michel Le Peletier is on display in the Château de Vizille, Isère
10.
Montparnasse Cemetery
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Montparnasse Cemetery is a cemetery in the Montparnasse quarter of Paris, part of the citys 14th arrondissement. Created from three farms in 1824, the cemetery at Montparnasse was originally known as Le Cimetière du Sud, cemeteries had been banned from Paris since the closure, owing to health concerns, of the Cimetière des Innocents in 1786. At the heart of the city, and today sitting in the shadow of the Eiffel Tower, is Passy Cemetery, Montparnasse Cemetery is the resting place of many of Frances intellectual and artistic elite as well as publishers and others who promoted the works of authors and artists. There are also graves of foreigners who have made France their home, as well as monuments to police. The cemetery is divided by Rue Émile Richard, the small section is usually referred to as the small cemetery and the large section as the big cemetery. Although Baudelaire is buried in this cemetery, there is also a cenotaph to him, because of the many notable people buried there, it is a highly popular tourist attraction. Divisions 5 and 30 were originally Jewish enclosures and contain many Jewish graves, the main entrance to the cemetery is on Boulevard Edgar Quinet which leads to the big cemetery. There are smaller entrances to both the big and small cemeteries on Rue Émile Richard, list of burials at Montparnasse Cemetery A list of many buried at the cemetery Montparnasse Cemetery at Find a Grave Information and help in touring Montparnasse cemetery In English
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This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Gérard, François". Encyclopædia Britannica. 11 (11th ed.). Cambridge University Press. p. 764.
This article incorporates text from a publication now in the 
