25:
147:'s portraits were in high favour at the end of the seventeenth century and Drevet was the first to encounter the difficulties of translating into black and white the natural appearance of texture and materials in the latter's oil paintings. Always engraving after oil paintings, Drevet was at times uneven, but this was arguably because the originals were uneven. His engravings were mainly the portraits of distinguished people. Among his many plates are a portrait of
172:
278:
250:
A French engraver, b. Lyons, 1705; d. in Paris, 1782. He was a nephew and pupil of Pierre the Elder and at first followed the traditions of the two
Pierres, forming about him a coterie of engravers who endeavoured to keep alive their traditions. When Pierre-Imbert died, his rooms in the Louvre were
182:
Pierre-Imbert Drevet (22 June 1697 – 27 April 1739), called the
Younger Pierre, was born and died in Paris. His father, the elder Drevet, instructed him, and he was engraving at the age of thirteen. At first he engraved after
203:, Rigaud himself made the drawing, an unusual event in eighteenth-century engraving. Besides his portraits, Pierre-Imbert produced many religious and historical plates, chiefly of Coypel. A
256:
208:
207:(1726) resulted in intermittent mental disability, which continued for thirteen years until his death. He kept on engraving until the end. He was a member of the
54:
386:
381:
288:
251:
given to Claude, who reportedly proceeded to squander nearly all the money left him by his uncle and his cousin. He engraved portraits of
76:
187:, but he soon developed a style of his own. He was his father's constant companion. In 1723 Pierre-Imbert finished his portrait of
252:
133:
in Paris. His progress was rapid, and in 1696 he was made court engraver. In 1707 he was admitted to membership in the
163:. During the last years of his life Drevet worked with his son and they produced plates together. He died in Paris.
376:
200:
188:
134:
37:
391:
47:
41:
33:
360:
58:
293:
160:
148:
322:
260:
216:
196:
354:
312:
93:
Family were leading portrait engravers of France for over a hundred years. Their fame began with
348:
220:
192:
144:
130:
175:
171:
138:
327:
184:
122:
370:
282:
204:
152:
156:
118:
235:
212:
159:, both after Rigaud; a Crucifixion, after Coypel, and a portrait of
281: This article incorporates text from a publication now in the
114:
126:
18:
121:, the son of Estienne Drevet, and began his studies with
113:
Pierre Drevet, the Elder (1663–1738) was born at
234:, after L. Boullogne; portraits of the Archbishop of
46:but its sources remain unclear because it lacks
191:after Rigaud. In 1724 the portrait of Cardinal
257:Charles-Gaspard-Guillaume de Vintimille du Luc
137:, his reception picture being an engraving of
8:
333:
304:
211:and the king assigned him apartments in the
77:Learn how and when to remove this message
170:
7:
297:. New York: Robert Appleton Company.
287:Herbermann, Charles, ed. (1913). "
195:was engraved; in 1730, a plate of
14:
253:Henri Oswald, Cardinal d'Auvergne
276:
215:. Among his pupils were artists
97:, and was sustained by his son,
23:
16:French portrait engraving family
242:, his last work, after Rigaud.
335:Les Lyonnais dignes de mémoire
1:
387:18th-century French engravers
382:17th-century French engravers
238:(after Joseph Vivien); and
408:
232:Presentation in the Temple
228:Presentation of the Virgin
226:His principal works were:
199:. For his engraving of
32:This article includes a
303:Ambroise Firmin-Didot,
255:, after Rigaud, and of
178:, by the Younger Pierre
135:Académie des Beaux-Arts
129:, continuing them with
61:more precise citations.
334:
305:
179:
317:Engraving and Etching
294:Catholic Encyclopedia
263:, also after Rigaud.
174:
161:Charles II of England
151:(1700); portraits of
149:Jean-Baptiste Colbert
101:, and by his nephew,
349:Pierre-Imbert Drevet
209:Académie de Peinture
167:Pierre-Imbert Drevet
363:on French Knowledge
357:on French Knowledge
261:Archbishop of Paris
197:Adrienne Lecouvreur
313:Friedrich Lippmann
223:and Simon Vallée.
180:
34:list of references
377:Baroque engravers
319:(New York, 1906);
299:The entry cites:
230:, after Le Brun;
87:
86:
79:
399:
361:Pierre the Elder
337:
331:
323:Jacques Pernetti
308:
298:
280:
279:
145:Hyacinthe Rigaud
82:
75:
71:
68:
62:
57:this article by
48:inline citations
27:
26:
19:
407:
406:
402:
401:
400:
398:
397:
396:
392:French families
367:
366:
345:
325:
286:
277:
269:
248:
221:Jacques Chéreau
176:Claude le Blanc
169:
139:Robert de Cotte
111:
83:
72:
66:
63:
52:
38:related reading
28:
24:
17:
12:
11:
5:
405:
403:
395:
394:
389:
384:
379:
369:
368:
365:
364:
358:
352:
344:
343:External links
341:
340:
339:
320:
310:
274:
273:
268:
265:
247:
244:
201:Samuel Bernard
185:Charles Lebrun
168:
165:
123:Germain Audran
110:
107:
85:
84:
42:external links
31:
29:
22:
15:
13:
10:
9:
6:
4:
3:
2:
404:
393:
390:
388:
385:
383:
380:
378:
375:
374:
372:
362:
359:
356:
355:Pierre-Imbert
353:
350:
347:
346:
342:
336:
329:
324:
321:
318:
314:
311:
309:(Paris, 1876)
307:
302:
301:
300:
296:
295:
290:
289:Drevet Family
284:
283:public domain
271:
270:
266:
264:
262:
258:
254:
246:Claude Drevet
245:
243:
241:
237:
233:
229:
224:
222:
218:
214:
210:
206:
202:
198:
194:
190:
186:
177:
173:
166:
164:
162:
158:
154:
150:
146:
142:
140:
136:
132:
131:GĂ©rard Audran
128:
124:
120:
116:
109:Pierre Drevet
108:
106:
104:
100:
99:Pierre-Imbert
96:
92:
81:
78:
70:
60:
56:
50:
49:
43:
39:
35:
30:
21:
20:
316:
292:
275:
249:
240:René Pucelle
239:
231:
227:
225:
181:
143:
112:
102:
98:
94:
90:
88:
73:
64:
53:Please help
45:
326: [
272:Attribution
59:introducing
371:Categories
338:, II, 139.
306:Les Drevet
351:on Artnet
205:sunstroke
153:Louis XIV
67:July 2024
217:François
157:Louis XV
119:Lyonnais
285::
267:Sources
236:Cambrai
189:Bossuet
117:in the
55:improve
213:Louvre
193:Dubois
103:Claude
95:Pierre
91:Drevet
330:]
127:Lyons
115:Loire
40:, or
219:and
155:and
89:The
291:".
125:in
373::
332:,
328:fr
315:,
259:,
141:.
105:.
44:,
36:,
80:)
74:(
69:)
65:(
51:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
