Le Nain


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Le Nain

(lə năN), family of French painters consisting of three brothers: Antoine Le Nain, 1588?–1648, Louis Le Nain, 1593?–1648, and Mathieu Le Nain, 1607–77. They went to Paris from Laon c.1629 and were admitted to the Académie royale at the time of its foundation in 1648. It is believed that much of their work was done in collaboration. Antoine excelled in painting colorful miniatures of family scenes. Mathieu became painter to the city of Paris in 1633 and specialized in portraiture and in depicting the city militia. Louis is credited with the conception of the famous Le Nain genre scenes of peasant life. At a time when allegorical compositions in France were the rule, these pictures are unique in the choice of peasants as subject matter, treated sympathetically and realistically, and yet arranged in almost classical compositions. Among the paintings by the Le Nain brothers may be cited The Forge and Peasants' Repast (Louvre) and Portrait Group (National Gall., London).
References in periodicals archive ?
It is hard to imagine many modern painters collaborating in the manner of the Le Nain brothers or the Carracci, who, when asked about the authorship of sections of their frescoes, are said to have answered 'it is by the Carracci, we did it together'.
Le geant europeen negocie avec le nain economique qui est la Tunisie ", a-t-il souligne.
Take for instance, the 17th century genre paintings by the Le Nain brothers, Antoine (ca.
is a consideration of both Possidius, a contemporary biographer of Augustine, and Louis-Sebastien Le Nain de Tillemont, a 17th-century French ecclesiastical historian.
(1b) Les << cent cavaliers >> sont jusqu'a l'episode final une troupe imaginaire, inventee par le nain chef des bandits lors d'un interrogatoire.
Danedrop is a half-sister to the dam of Roseanna, who was third in the 2004 Nell Gwyn Stakes, while her third dam, Lady Berry, was a Prix Royal Oak winner who produced three top-class horses in Vert Amande, Le Nain Jaune and Indian Rose.
Louis Sebastien, Le Nain de Tillemont (1637-98) compiled all the primary and secondary material he could find on Augustine of Hippo (354-430) for the 13th volume of his series of biographies; it was published posthumously in 1700.
Cette contradiction se traduit egalement par des mentions et des citations litteraires paraphrasees qui posent Butscha en topos mi-grotesque, mi-sublime: le "nain mysterieux" (MM 472) a la rose pretant son appui a Isabelle Vere dans Le Nain noir de Walter Scott (cf.
Apart from Les Contes du chat perche, the volume contains four novels (Maison basse, Le Moulin de la Sourdine, Gustalin, Le Boeuf clandestin) and two other collections of stories (Le Nain, Derriere chez Martin).
Three are studies of individual historians: Le Nain de Tillemont, Muratori, and Mabillon; two are surveys of the republic of letters and learning in Rome and Paris; two concern the tensions between papal claims and Jansenist Augustinianism; two (there are overlaps) assess the status of the authority of Saint Augustine in the period and two the status of Christian antiquity generally.
This counterpoint of fantasy and reality finds its perfect format in such short stories as "Le Nain" (1934; "The Dwarf") and "Le Passe-muraille" (1943; "The Man Who Could Pass Through Walls").