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Updated: May 2, 2025
About half the etchings in the volume before us are reproductions of pictures in that collection. M. Flameng has forgotten all the perplexities and intricacies of the nineteenth century to render the placid graciousness of a beauty whose portrait was painted in the eighteenth by Drouais.
Through the ministrations of a certain Drouais, Fragonard was commissioned to decorate a special pavilion outside the chateau proper, destined for the "collations du Roi." The subject chosen was the "Progres de l'Amour dans le Coeur des Jeunes Filles." Just where these panels are to-day no one seems to know, but sooner or later they will doubtless be discovered.
He was appreciated by true art-lovers, and regenerated our school. We have since produced David, young Louis Drouais who died at Rome, aged twenty-five, just as he seemed to give promise of becoming a second Raphael Gérard, Gros, Girodet, Guérin, and a number of others I might cite.
We experience an emotion of regret at the aspect of the handsome monument by MICHALLON, on learning that it was erected to the memory of young DROUAIS, a skilful and amiable artist, stopped by death, in 1788, during his brilliant career, at the early age of 24. He has left behind him three historical pictures, which are so many master-pieces.
The statue was raised, and the young sculptor, with the shining eye and hectic flush of consumption, beheld it there returned home and died. DROUAIS, a pupil of David, the French painter, was a youth of fortune, but the solitary pleasure of his youth was his devotion to Raphael; he was at his studies from four in the morning till night.
He began to talk of some pictures he had been studying in the Palace that day Nattiers, Rigauds, Drouais examples of that happy, sensuous, confident art, produced by a society that knew no doubts of itself, which not to have enjoyed so the survivors of it thought was to be for ever ignorant of what the charm of life might be. Fenwick spoke of it with envy and astonishment.
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