HERSENT, Louis (1777-1860), French painter, was one of David’s most distinguished pupils, and became one of the most noted painters of the Restoration. He was born at Paris on 10th March 1777, and obtained the Prix de Rome in 1797; in the Salon of 1802 appeared his Metamorphosis of Narcissus, and he continued to exhibit with rare interruptionsup to 1831. His most considerable works under the empire were Achilles parting from Briseis, and Atala dying in the arms of Chaetas (both engraved in Landon’s Annales du Musée) ; an Incident of the life of Fénelon, painted in 1810, found a place at Malmaison, and Passage of the Bridge at Landshut, which belongs to the same date, is now at Versailles. Hersent’s typical works, however, belong to the period of the Restoration; Louis XVI. relieving the Afflicted (Versailles) and Daphnis and Chloe (engraved by Langier and by Gelée) were both in the Salon of J 317; at that of 1819 the Abdication of Gustavus Vasa 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 Henriquel-Dupont is now its sole record. Ruth, produced in 1822, became the property of Louis XVIII., who from the moment that Hersent rallied to the Restoration zealously patronized him, made him officer of the legion of honour, and pressed his claims at the Institute, where he replaced Van Spaendonck. He continued in favour under ÎJharles X., for whom was executed Monks of Mount St Gotthard, exhibited in 1824. In 1831 Hersent made his last appearance at the Salon with portraits of Louis Philippe, Marie-Amélie, and the duke of Montpensier; that of the king, though good, is not equal to the portrait of Spontini (Berlin), which is probably Hersent’s chef-d'oeuvre. ...After this date Hersent ceased to exhibit at the yearly salons. Although in 1846 he sent an excellent likeness of Delphine Gay and one or two other works to the rooms of the Société d’Artistes, he could not be tempted from his usual reserve even by the international contest of 1855. Five years later, on 2d October 1860, he died. His work shows every artistic merit which can be attained by steadily directed intelligence and labour; his skilful arrangement, delicacy of line, and certainty in execution are points which have excited the admiration even of those who find him wanting in feeling, in interest, and in sense of colour. Louis XVI. relieving the Afflicted, the treatment of which indicates the approach of the realistic movement, is less theatrical than Daphnis and Chloe, which combines, in the true spirit of the Restoration, drawing-room graces with a pseudo-classic style; but both show the same dryness and hardness of manner which Hersent had acquired under the influence of the first empire, and from which he never was able to free himself.
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