尤斯塔歇Eustache Le Sueur（1617年11月19日——1655年4月30日），法国画家。
他出生在巴黎,在那里他度过了他的一生。他的父亲,Cathelin年后,特纳和雕塑家在木头,把他Vouet在他的工作室,他迅速杰出的自己。承认在早期的公会大师,他就离开他们参与建立学院的绘画和雕塑,和是第一个十二教授的身体。
他玛的强奸,c。1640年
一些画作,说明性的Hypnerotomachia Poliphili复制在tapestry,带他到注意到,他的声誉是由一系列装饰(进一步加强罗浮宫)在朗伯德Thorigny的豪宅,他留下未完成的,因为它们的执行是经常被其他佣金。其中有几个图片国王和王后的公寓在卢浮宫,这现在下落不明,尽管他们进入Bailly库存(1710);但一些生产适合小顾客下降了。
在卢浮宫画廊是天使和夏甲,豪宅的De Tonnay Charente;托拜厄斯和托比特书,从Fieubet集合;几个图片执行圣杰维斯的教堂,圣劳伦斯的殉难,从圣日尔曼De l 'Auxerrois;两个非常毁了修道院的精品Marmoutiers圣保罗说教;在以弗所,年后最全面、彻底的表演,画的金匠公司;1649年,他著名的系列生活的圣布鲁诺,在夏特尔猫的修道院执行。这些最后的比别的年后有更多的个人性格,和原来的美幸存尽管损伤和修复和删除从墙上到画布上。卢浮宫还拥有许多好图纸由布劳恩(复制),其中年后离开了令人难以置信的数量、主要执行在黑色和白色粉笔。
他的学生,帮助他在他的作品中,是他的妻子的哥哥,西奥多·Gousse和三个兄弟自己的,以及克劳德Lefebvre和皮埃尔·帕特尔山水画家。他的大部分作品雕刻,主要通过Picart,b . Audran,勒克莱尔Drevet,Chauveau,毛发和Desplaces。
认为年后的借给本身容易雕刻的艺术品,当他有一个微妙的看法不同深浅的坟墓和提升情绪,和拥有的权力使他们。作文总是受制于他优雅的设施非常好味道,但他的作品往往请完全失败,因为,生产这么多,他太经常借助传统的类型,部分是因为他很少看到颜色除了寒冷和粘土质质量合适的学校Vouet;然而他的圣保罗在以弗所,一个或两个其他作品表明他不是自然不足在这个意义上,当我们得到直接提及自然僧侣的圣布鲁诺系列,我们认识到他的阅读和呈现令人钦佩的能力地貌不同的和严重的类型。
He was born in Paris, where he spent his entire life. His father, Cathelin Le Sueur, a turner and sculptor in wood, placed him with Vouet, in whose studio he rapidly distinguished himself. Admitted at an early age into the guild of master-painters, he left them to take part in establishing the academy of painting and sculpture, and was one of the first twelve professors of that body.
Some paintings, illustrative of the Hypnerotomachia Poliphili, which were reproduced in tapestry, brought him into notice, and his reputation was further enhanced by a series of decorations (Louvre) in the mansion of Lambert de Thorigny, which he left uncompleted, for their execution was frequently interrupted by other commissions. Amongst these were several pictures for the apartments of the king and queen in the Louvre, which are now missing, although they were entered in Bailly's inventory (1710); but several works produced for minor patrons have come down to us.
In the gallery of the Louvre are the Angel and Hagar, from the mansion of De Tonnay Charente; Tobias and Tobit, from the Fieubet collection; several pictures executed for the church of Saint Gervais; the Martyrdom of St Lawrence, from Saint Germain de l'Auxerrois; two very fine works from the destroyed abbey of Marmoutiers; St Paul preaching at Ephesus, one of Le Sueur's most complete and thorough performances, painted for the goldsmiths corporation in 1649; and his famous series of the Life of St Bruno, executed in the cloister of the Chartreux. These last have more personal character than anything else Le Sueur produced, and much of their original beauty survives in spite of injuries and restorations and removal from the wall to canvas. The Louvre also possesses many fine drawings (reproduced by Braun), of which Le Sueur left an incredible quantity, chiefly executed in black and white chalk.
His pupils, who aided him much in his work, were his wife's brother, Theodore Goussé, and three brothers of his own, as well as Claude Lefèbvre and Pierre Patel the landscape painter. Most of his works have been engraved, chiefly by Picart, B. Audran, Leclerc, Drevet, Chauveau, Poilly and Desplaces.
It is considered that Le Sueur's work lent itself readily to the engraver's art, as he had a delicate perception of varied shades of grave and elevated sentiment, and possessed the power to render them. His graceful facility in composition was always restrained by a very fine taste, but his works often fail to please completely, because, producing so much, he had too frequent recourse to conventional types, and partly because he rarely saw colour except with the cold and clayey quality proper to the school of Vouet; yet his St Paul at Ephesus and one or two other works show that he was not naturally deficient in this sense, and whenever we get direct reference to nature—as in the monks of the St Bruno series – we recognize his admirable power to read and render physiognomy of varied and serious type.[1]
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