{"Id":2412,"Name":"Louis Hersent","Biography":"\u003Cstrong\u003EHERSENT, LOUIS (1777-1860)\u003C/strong\u003E, French painter, was born at Paris on the 10th of March 1777, and becoming a pupil of \u003Ca href=\u0022/asp/database/art.asp?aid=40\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EDavid\u003C/a\u003E, obtained the Prix de Rome in 1797; in the Salon of 1802 appeared his \u003Cu\u003EMetamorphosis of Narcissus\u003C/u\u003E, and he continued to exhibit with rare interruptions up to 1831. His most considerable works under the empire were \u003Cu\u003EAchilles parting from Briseis\u003C/u\u003E, and \u003Cu\u003EAtala dying in the arms of Chactas\u003C/u\u003E (both engraved in Landons Annales du Mus\u0026eacute;e) ; an \u003Cu\u003EIncident of the life of F\u0026eacute;nelon\u003C/u\u003E, painted in 1810, found a place at Malmaison, and \u003Cu\u003EPassage of the Bridge at Landshut\u003C/u\u003E, which belongs to the same date, is now at Versailles. Hersent\u0027s typical works, however, belong to the period of the, Restoration; \u003Cu\u003ELouis XVI relieving the Afflicted\u003C/u\u003E (Versailles) and \u003Cu\u003EDaphnis and Chlo\u0026euml;\u003C/u\u003E (engraved by Langier and by Gele) were both in the Salon of 1817; at that of 1819 the \u003Cu\u003EAbdication of Gustavus Vasa\u003C/u\u003E brought to Hersent a medal of honour, but the picture, purchased by the duke of Orleans, was destroyed at the Palais Royal in 1848, and the engraving by \u003Ca href=\u0022http://wwar.com/masters/h/henriquel-dupont.html\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EHenriquel-Dupont\u003C/a\u003E is now its sole record. \u003Cu\u003ERuth\u003C/u\u003E, produced in 1822, became the property of \u003Ca href=\u0022http://www.bartleby.com/65/lo/Louis18Fr.html\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003ELouis XVIII\u003C/a\u003E, who from the moment that Hersent rallied to the Restoration jealously patronized him, made him officer of the legion of honour, and pressed his claims at the Institute, where he replaced \u003Ca href=\u0022http://www.artcyclopedia.com/artists/van_spaendonck_cornelis.html\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003Evan Spaendonck\u003C/a\u003E. He continued in favour under \u003Ca href=\u0022http://www.bartleby.com/65/ch/Charles10Swe.html\u0022\u003ECharles X\u003C/a\u003E, for whom was executed \u003Cu\u003EMonks of Mount St Gotthard\u003C/u\u003E, exhihited in 1824. In 1831 Hersent made his last appearance at the Salon with portraits of Louis Philippe, \u003Ca href=\u0022http://89.1911encyclopedia.org/M/MA/MARIE_AMELIE_THERESE.htm\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EMarie-Amelie\u003C/a\u003E and the duke of Montpensier; that of the king though good, is not equal to the portrait of \u003Ca href=\u0022http://www.newadvent.org/cathen/14235b.htm\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003ESpontini\u003C/a\u003E (Berlin), which is probably Hersents \u003Cem\u003Echef-d\u0027oeuvre\u003C/em\u003E. After this date Hersent ceased to exhibit at the yearly salons. Although in 1846 he sent an excellent likeness of \u003Ca href=\u0022http://www.bartleby.com/65/gi/GirardinD.html\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EDelphine Gay\u003C/a\u003E and one or two other works to the rooms of the Societie d\u0027Artistes, he could not be tempted from his usual reserve even by the international contest of 1855. He died on the 2nd of October 1860.\u003Cbr\u003E\u003Cbr\u003E\u003Cstrong\u003E\u003Cu\u003ESource:\u003C/u\u003E\u003C/strong\u003E Entry on the artist in the \u003Ca href=\u0022http://89.1911encyclopedia.org/H/HE/HERSENT.htm\u0022 target=\u0022_blank\u0022\u003E1911 Edition Encyclopedia\u003C/a\u003E.\u003Cp\u003E","Awards":null,"HasAlbums":false,"HasPortraits":true,"HasRelationships":true,"HasArticles":false,"HasDepictedPlaces":false,"HasLetters":false,"HasLibraryItems":false,"HasProducts":false,"HasSignatures":false,"HasVideos":false,"HasMapLocations":false,"TotalArtworks":2}