Page:Bryan's dictionary of painters and engravers, volume 1.djvu/431

 CHAPONNIER, Alexandre, a Swiss enamel- p -inter and engraver, was born at Geneva in 1753. He settled in Paris, and executed in the dotted style many mythological and fancy subjects after Euet, Schall, Boilly, Cazenave, and other painters of the French school of the 18th century. He died about 18ii4. His best works are ' Le Prelude de Nina,' ' L'Amant favorise,' ' I.a CLimparaison des petits Pieds,' and ' Le Bouquet clieri,' all after Boilly.

CHAPRON, Nicolas, a French historical painter and en^aver, was bom at Chateaudun in 1612. He was a pupil of Simon Vouet, and went to Rome about 16-10. where he painted, under the direction of Poussin, a copy of Raphael's 'Transfiguration." He also painted a ' Holy Family,' and ' Mary going to the Temple ; ' the latter has been engraved by Picquot He remained at Rome several years, and in 1649 published his set of fifty-two plates from Raphael's works in the Vatican. Several artists have engraved these admirable productions, but in all of them we seek in vain for the nobility of cha- racter and purity of design of their great author. Chapron's transcripts are perhaps the least faulty of those that have appeared. He died at Rome pro- bably about 1656. Chapron is better known by his engravings than by his paintings, very few of which have descended to us. The Louvre, and the museums of Rennes, Perpignan, Nantes, and Alen^on possess drawings and paintings by him. We have, besides the Bible of Raphael, the follow- ing plates by him, sometimes marked ^ C F., or I^ C H F, some of which are from his own designs : His own Portrait, seated at the foot of the Bast of Raphael. The title to Eaphael's Bible. Hetry IV., Kiug of France ; below, in basso-rilievo, the King wounded by Du Chitel ; after Freminet ; sc.irce. Anotlier Portrait of Henry IV., with a battle below. The Virgin suckling the Infant ; said to be after Titian, but considered by Mariette to be Chapron's own design. The Aliiance of Bacchus and Venus. 1639. A drunken Silenus, with a Satyr offering him drink. Bacchus, with a Man carrying a Child. Satyrs, with 'Women and Children. A Bacchanal, with a Child pouring out wine to a Bacchante. Another Bacchanal, with Silenus riding on a Goat. Young Bacchanalians, one riding on a Goat. Another Bacchanal. 1639.

CHAPUY, Jea.N' Baptiste, a French engraver, was bom in Paris in 1760. He worked with Jani-r.et upon the ' Costumes des ThfiAtres de Paris,' and executed some fancy subjects after Lavreince and others, but more especially devoted himself to en- graving in colour. The best of the many prints of the fete of the Federation in the Champ de Mars, July 14, 1790, is by him, after Le Roy, and he also engraved a very curious set of fourteen plates of 'Coiffures de Dames,' as well as a series of por- traits of Louis XVL, Marie Antoinette, Cagliostro, and others concerned in the affair of the Diamond Necklace. He died in Paris in 1802.

CHAPUY, Nicolas Marie Joseph, a French architect, lithographer, and naval engineer, was bom in Paris in 1790. He executed the drawings and plates for the ' Vues pittoresques des Cath^- drales fran^aises.' 1823-31; 'Voyage pittoresque dans Lyon,' 1824 ; ' Le Moyen-Age monumental et nrch6ologique,' 1839-44, and several other works. He also edited, with Beugnot. the complete works of Palladio, 1825-42. He died in Paris in 1858.

CHARDIN, Jean Simeok. was born in Paris in 1699. His father at first placed him with Cazes. but as that master's habit was to give his pupils his own work to copy, he did not make much progress. He subsequently entered the atelier of Noel Nicolas Coypel, and was chosen among other of Coypel's pupils to assist Jean Baptiste van Loo in restoring one of the galleries at Fontainebleau. In the establishment of his reputation he now de- voted himself to the painting of dead animals and still-life. His old ni.aster, Cazes, is said to have taken some of his productions for original works of the Dutch masters. His success became .assured, and he was made a member of the Aca- demy in 1728, and Treasurer in 1755. About 1737 he began to turn his attention to figure painting, and his well-known ' Benedicite ' was exliibited in 1740. His works are remarkable for truth, simplicity, and neatness of finish, as well as for the harmony of their tone, and the generally careful management of light and shade. It is worthy of note that they fell into disrepute towards the close of the last century, but, with the revival of a truer feeling, they have again won a high position in public estimation. Chardin's second wife having been a lady of Rouen, he spent several years in that city, but died in Paris in 1779. The following are some of his principal works : Dulwich. Gallery. Girls at 'Work. Montpellier. jr»|ee | Madame Geoffrin. (Kitchen Utensils, t Fruit, Animals, &c. The Blessing (Le Benedicite). 1740. DeadEabbit. 1757':" Kitchen Utensils. 1731. The Attributes of the Arts. 1765., The Attributes of Music. 1765. , The Blessing (replica of above). I Boy with Cards. , La Ca:f J Monkey Painting. Coll. ) The Silver Goblet. Paris. Loutre. I The Basket of Grapes. Vienna. Kitchen Utensils. And others. Petrsbrg. Hermitage. The Blessing. „ „ The AVasherwoman. Liechtenstein f Mother and Son. 1739. Gallery. Interiors with figures (three). Chardin had a son who won the 'grand pris' for painting in 1754, but died young.

CHARLES XV., Kisg of Swedes and Nobwat, was bom May 3rd, 1826, and succeeded to the throne on the death of his father. King Oscar I., on the 8th of July, 1859. He received instruction in the art of landscape painting first from his father, but was aftersvards more fully instructed by Boklund, and his style was still further influ- enced by Bergh and Wahlherg. The subjects lie chose were scenes in Sweden and Norway, — broad sketches of coast scenery, or summer wood- lands. He often painted in conjunction %vith Malmstrom and Winge, who supplied the figures. Among his works may be mentioned ' In the Forest,' painted in 1869, ' View on the Waldbach,' and the ' Castle of Ulricsdal.' He died at ilalmo, Sept. 18, 1872. The position in which Charles XV. stood towards the arts had much influence on their development in Sweden. He was the rally- ing-point of the art world in his own kingdom, and was the means of turning the attention of Swedish artists to the beauties of their own country.

CHARLES, Claupe, a French historical and