Nicolas Lancret

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Lancret, Nicolas


Born Jan. 22, 1690, in Paris; died there Sept. 14, 1743. French rococo painter.

Lancret was strongly influenced by A. Watteau. In 1719 he was received into the Royal Academy of Painting and Sculpture as a master of fêtes galantes. Lancret also painted landscapes, theater and genre scenes, and portraits. His works include The Dancer Camargot (c. 1730, Hermitage, Leningrad), Concert in the Park (Pushkin Museum of Fine Arts, Moscow), and The Music Lesson (Louvre, Paris). Lancret’s paintings are noted for a refined, somewhat pale palette, a decorative, soft painterly manner, and an occasionally superficial treatment of the subject matter (particularly apparent when compared with the works of A. Watteau).


Wildenstein, G. Lancret: Biographie et catalogue critique. Paris, 1924.
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
Elaborating on my favourite subject of gardens, we move onto Nicolas Lancret, a 17th century French painter.
A handful of treasures --Drouais's Madame de Pompadour, David's Jacobus Blauw, Lancret's Four Ages of Man, Nattier's Manon Balletti, Perronneau's Jacques Cazotte--set a high standard.
According to Lancret's Theorem, the necessary and sufficient condition for a curve to be a helix is that the ratio of curvature to torsion must be constant.
As is well known, generalized helices in [R.sup.3] are characterized by the fact that the quotient [[tau].sub.k] is constant (Lancret's theorem).
Highlights include works by the major French draughtsmen of the 18th century, including Fragonard, Boucher and Greuze, and beautiful sketches by Lancret, the Saint-Aubins and Le Prince.
Less translunary and less profound are the Pastoral Scene of Boucher, who revered Watteau, and The Swing by Nicolas Lancret, who was Watteau's pupil.
The rehabilitation of Boucher, Lancret, Pater, and 'Diderot's painters' was posthumous revenge on their Davidian detractors.
This sometimes took outlandish form, as when the Duc d'Antin (who was then in charge of all royal patronage) commissioned Warteau's follower Nicolas Lancret to depict Louis XV's Polish-born bride and her entourage bogged down in the mud on the way to her wedding in 1725: The painter was instructed just how to represent the various humiliations of the ladies-in-waiting and to "include the most grotesque and messy details he can."
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