François-Nicolas Mauperin

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Mauperin (or Maupérin ) was a French portrait painter who worked in Paris towards the end of the Ancien Régime and during the Revolution . He is probably identical to François-Nicolas Mauperin (†  June 9, 1806 ).

life and work

Mauperin was a student of the Académie royale , where he won third place in a competition in December 1766.

In the following years he portrayed, among others, Jean-François Dufour de Villeneuve and François-Etienne de Nieuport - the former plant was in 1767 by Le Villain , the latter in 1770 by Chenu as engraving implemented. In addition to such portraits of members of the upper class, he mainly created church works , for example in 1773 he painted the four evangelists for Bourges Cathedral . Other religious representations created by him can be found in the churches of Saint-Pierre and St-Étienne in Beauvais .

For 1774 Mauperin is named as a member of the (rather bourgeois) Académie de Saint-Luc . This year he contributed three works to their art exhibition ( Salon de Saint-Luc ), including two smaller portraits and a large-format trompe-l'œil - oil painting with a Christ motif.

In the same year, the engraver Le Beau created an engraving of Queen Marie-Antoinette , based on a portrait drawing of Mauperin - which shows that this was obviously also successful at the Versailles court society.

In addition to his work as a painter and draftsman, Mauperin ran a commercial gallery in Paris and worked here with the art dealers Paillet and Le Brun . For example, a sales catalog created by him from December 1780 is known, which also included works by Fragonard .

Mauperin: Portrait of Prince Cảnh ,
oil on canvas,
158.5 cm × 100 cm,
Société des Missions Etrangères de Paris

In 1787, the young Vietnamese prince Nguyễn Phúc Cảnh and his tutor, the missionary Pigneau de Behaine , visited the royal court in Versailles as part of a diplomatic mission. Both Prince Cảnh and Pigneau de Behaine were portrayed by Mauperin during this time. The two pictures are still in the possession of the Paris Mission Society . The exotic-looking depiction of the prince from distant Asia is Mauperin's best-known work and is currently on display in the Metropolitan Museum in New York .

Despite his closeness to the nobility and the church, Mauperin seems to have come to terms with the revolution very soon. During the period of the Revolution and the Consulate , his participation in a number of exhibitions is known (1791, 1793, 1800, 1801), including the Louvre, which is now open to the public .

In addition to his oil portraits, Mauperin has also been ascribed to some etchings and engravings. It is unclear, however, whether he also painted pastels , probably because it was confused with another painter with a similar name.

Neither the first name nor the life dates of Mauperin are known. However, it is considered likely that he was François-Nicolas Mauperin , whose will from 1806 has been preserved. According to this he was a painter in the Académie de Saint-Luc, married Marie-Renée Duflos in 1782 , with whom he had a son, who was born the following year, and died on June 9, 1806.

Individual evidence

  1. a b Neil Jeffares: Dictionary of pastellists before 1800 , online edition, entry "MAUPERIN, François-Nicolas" (as of October 2019)
  2. ^ Georg Kaspar Nagler : New general artist lexicon , eighth volume, Verlag Fleischmann, Munich 1839, p. 471 (entry "Mauperin")
  3. Bibliothèque nationale de France : Mauperin (peintre, 17 ..- 17 ..)
  4. Le Berry républicain: Un financement participatif pour restaurer quatre tableaux à Notre-Dame de Bourges , November 15, 2018
  5. ^ Mémoires de la Société Académique d'Archéologie, Sciences et Arts du Département de l'Oise , Volume 5, Imprimerie d'Achille Desjardins, Beauvais 1862, pp. 229f
  6. ^ Pierre Rosenberg : Fragonard , Metropolitan Museum of Art, New York, 1988, pp. 255, 258, 266, 268
  7. ^ Metropolitan Museum of Art : Maupérin - Nguyễn Phúc Cảnh, 1787
  8. Émile Bellier de La Chavignerie: Les Artistes français du XVIII siècle oubliés ou dédaignés , Renouard, Paris 1865, p. 126