DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.68073#0318
2Q2
OLD WORLD MASTERS
chestra on the left. Seated and standing around them beneath the
trees are groups of interested spectators; and among them at the ex-
treme left Lancret has painted his own portrait. He is wearing a
dark mantle and a biretta, and looks directly toward the observer.
The dancer, who gives the name to the picture, is the celebrated
Marie Anne de Cuppi de Camargo, born in Brussels in 1710. The
Princess de Ligne became interested in her and sent her to Paris at the
age of ten to be trained for a dancer. Under Madame Prevost, a dancer
at the Opera, her progress was so rapid that she made her debut at
the Opera at the age of seventeen, when her extraordinary grace and
her wonderful clothes caused her to be acclaimed as a star. Through
the lessons of Blondy and Dupre she perfected her talents and became
the most famous Parisian dancer of her time. A liason with the Comte
de Clermonte Abbe of Saint-Germain-des-Pres caused her to leave the
Opera in 1734; but she returned in 1740 and regained her former tri-
umphs. This was the time when Lancret painted some wonderful
portraits of the great danseuse, including the fine picture presented
here. Mademoiselle Camargo retired permanently in 1751 and died
in Paris in 1770.
Nicolas Lancret was born in Paris in 1690 and died there in 1743.
He was a pupil of Pierre d’Ulin and Claude Gillot; but he adopted
Watteau as his model. Indeed, his close imitations of Watteau es-
tranged the latter. Lancret, however, won a great reputation for his
beautiful sense of composition, his fine design, and his charming color.
He was elected a member of the French Academy of Painting in 1719.
His landscapes are always delicate and romantic, and as a painter of
Fetes galantes he almost equals Watteau and Pater.
OLD WORLD MASTERS
chestra on the left. Seated and standing around them beneath the
trees are groups of interested spectators; and among them at the ex-
treme left Lancret has painted his own portrait. He is wearing a
dark mantle and a biretta, and looks directly toward the observer.
The dancer, who gives the name to the picture, is the celebrated
Marie Anne de Cuppi de Camargo, born in Brussels in 1710. The
Princess de Ligne became interested in her and sent her to Paris at the
age of ten to be trained for a dancer. Under Madame Prevost, a dancer
at the Opera, her progress was so rapid that she made her debut at
the Opera at the age of seventeen, when her extraordinary grace and
her wonderful clothes caused her to be acclaimed as a star. Through
the lessons of Blondy and Dupre she perfected her talents and became
the most famous Parisian dancer of her time. A liason with the Comte
de Clermonte Abbe of Saint-Germain-des-Pres caused her to leave the
Opera in 1734; but she returned in 1740 and regained her former tri-
umphs. This was the time when Lancret painted some wonderful
portraits of the great danseuse, including the fine picture presented
here. Mademoiselle Camargo retired permanently in 1751 and died
in Paris in 1770.
Nicolas Lancret was born in Paris in 1690 and died there in 1743.
He was a pupil of Pierre d’Ulin and Claude Gillot; but he adopted
Watteau as his model. Indeed, his close imitations of Watteau es-
tranged the latter. Lancret, however, won a great reputation for his
beautiful sense of composition, his fine design, and his charming color.
He was elected a member of the French Academy of Painting in 1719.
His landscapes are always delicate and romantic, and as a painter of
Fetes galantes he almost equals Watteau and Pater.