Woman's enterprise., 1922-02-10

delighted Lebrun that he at once en-
nobled Lebrun who created him first
painter to his majesty with yearly
pension of 10000 livres. From this
time all painting done in Royal Pal
ace was directed by Lebrun. Yer
sailles to this day is tapestried with
battle-pieces in which Louis XIV IS
always victor. Lebrun reserved for
himself the decoration of the Halls Of
War and Peace, the Ambassadors
staircase, and the Great Gallery, 9TH
er artists being forced to accept the
position Of his assistants. Besides his
gigantic labors at Versailles and the
Lonore, the number of his works for
religious corporations and private
patrons is very great. He painted a
portrait Of Ann of Austria who was
50 pleased with the work that in re-
turn she gave him her portrait set in
diamonds. Lebrun modelled and en-
graved with facility, and in spite of
the heaviness and poverty of draw
ing and color, his extraordinary activ-
ity and vigor of conceptions justify
his claim to fame. Nearly all of his
compositions have been reproduced by
celebrated engravers. CAT the death
of Colbert, Louvois, who succeeded
him in the Department Of Public
Works, showed no favor to Lebrun
and in spite Of the kings continued
support he felt bitter change in his
pos; Sn).
His contemporary, LIE Sueur (19l6-
1859, was a more sympathetic and
sincere painter, if not a much better
technician. Both were pupils Of
Vouet, but Sueur's art was religious
in subject, while Lebrun's was mill
tary and monarchial LIE Sueur had
a feeling for his theme, but was a
wea painter, inclined to be senti-
mem p, thin in coloring, and not at
all certain in his drawing. French
illusions to him as "the French Ra-
phaeT show more national complac-
ency than correctness.
Sebastian Bourbon (1616-1671) was
another painter of history, but little
out of the Lebrun circle. He was
not free from the influence of Italy
where he studied color more than
drawing. This shows in his works,
most Of which are lacking in form.
Contemporary with these men was
group of portrait painters who gain
ed celebrity perhaps as much by their
subjects as by their own powers. They
were facile flatterers given over to
the pomps Of the reign and mirroring
all of its absurdities of fashion, for
its time it was individually excellent
portraiture. The leaders among these
portrait painters were Philip de
Champagne (16O2-1674), the best of
his time; Pierre Mignard (1610-1696),
who became the successful rival of
Lebrun; Lar Gilliere (1656-1746), and
Rigaud (1659-1743) may be mentioned
as the last of these. The portrait
Of Louis XIV by Rigaud which was
transferred to tapestry is very cele-
brated.
The sculpture of the period related
itself to architecture and to the adorn-
ment of the palace gardens. Like
painting the subjects were either
classic or portrait. Coupled with the
name of LIE Brum as sculpture are
those of Girardon and Coyzoox.
Let US now consider the handicraft
of the time fine art that it was.
L. XIV reigned seventy-two years,
and during that time fashions in Co.'S
tunes and in furniture changed rapid
ly; but the period retained certain
qualities that rendered it distinctive.
This was a great measure the result
of Colbert's able administration. 1t
was Colbert who suggested to the
king the wisdom of purchasing the
Gobelin mandatory and of placing
LIE Brun at the head of it as art
director. Colbert, who organized the
lace industaries in the provinces, thus
turning into French Golfers the vast
sums that had been previously ex-
pended on Italian and Flemish laces;
Colbert who founded the Academy of
Painters and Sculptors-an associa-