Louis Licherie, 1642-1687.
Silvana Editorial| N° d'inventaire | 26810 |
| Format | 23 x 28 |
| Détails | 184 p., color illustrations, publisher's hardcover. |
| Publication | Milan, 2022 |
| Etat | Nine |
| ISBN | 9788836649273 |
This book accompanies the very first retrospective devoted to the history painter Louis Licherie (Dreux, 1642-Paris, 1687). Organized by the Thomas Henry Museum in Cherbourg-en-Cotentin, which owns one of Louis Licherie's finest paintings, this exhibition allows us to rediscover the work of a very little-known artist, relegated to the ranks of the "followers" of the Sun King's painter Charles Le Brun. Written by François Marandet, the book, on the contrary, shows the unusual path that Louis Licherie took. Unlike his colleagues at the Royal Academy of Painting and Sculpture, he was not included in the major royal projects of the time, although he had an excellent sense of observation. This is evidenced by his duties as drawing professor at the Royal Gobelins Manufactory, which he held from 1666, as well as his simultaneous approval and reception at the Royal Academy in 1679, which almost never happened at the time. Louis Licherie painted a majority of religious works, but the most surprising thing remains the extent of his skills. In addition to his large decorations for wealthy individuals, he was the author of meticulous illustrations for almanacs and panoramic views of sites. Louis Licherie's talents as a landscape painter, which resurface in his history paintings as well as those of Nicolas Poussin, make his personality all the more rare and endearing.
This book accompanies the very first retrospective devoted to the history painter Louis Licherie (Dreux, 1642-Paris, 1687). Organized by the Thomas Henry Museum in Cherbourg-en-Cotentin, which owns one of Louis Licherie's finest paintings, this exhibition allows us to rediscover the work of a very little-known artist, relegated to the ranks of the "followers" of the Sun King's painter Charles Le Brun. Written by François Marandet, the book, on the contrary, shows the unusual path that Louis Licherie took. Unlike his colleagues at the Royal Academy of Painting and Sculpture, he was not included in the major royal projects of the time, although he had an excellent sense of observation. This is evidenced by his duties as drawing professor at the Royal Gobelins Manufactory, which he held from 1666, as well as his simultaneous approval and reception at the Royal Academy in 1679, which almost never happened at the time. Louis Licherie painted a majority of religious works, but the most surprising thing remains the extent of his skills. In addition to his large decorations for wealthy individuals, he was the author of meticulous illustrations for almanacs and panoramic views of sites. Louis Licherie's talents as a landscape painter, which resurface in his history paintings as well as those of Nicolas Poussin, make his personality all the more rare and endearing.