Loutherbourg (Philip James de), R.A.
PHILIP JAMES DE LOUTHERBOURG, a distinguished landscape painter, was born at Strasburg, in the month of October, 1740. His father, who was a miniature painter, gave him a superior education. He at first studied with Tischbein, then under Casanova, who, at that time, was much admired as an historical painter. But Loutherbourg’s peculiar forte lay in landscape. He obtained considerable reputation at Paris, and exhibited his works at the Louvre. He was admitted a member of the French Academy in the year 1768. Having come over to England, he was, in the year 1771, elected a Royal Academician, and was for some short time engaged as scene-painter at the Opera House. Soon after his settling in England, he got up, under the name of the “Eidophusikon,” a novel and highly interesting exhibition, displaying the changes of the elements and their phenomena in a calm, by moonlight, at sunset, and in a storm at sea. This pictorial contrivance anticipated our present dioramas, although upon a smaller scale. It has been said of this painter: “His vigorous style of execution, poetical imagination, and his perfect knowledge of scenic effect, well qualified him for a department of art which demands them all, and which is held to be a subordinate one, chiefly because its productions are soon laid aside, and entirely forgotten.” He died at Hammersmith, March 11th, 1812, in his seventy-third year.
GILRAY.
The following is an extract from Holcroft’s Diary:—“Went with Geiseveiller to see the picture of the ‘Siege of Valenciennes,’ by Loutherbourg. He went to the scene of action accompanied by Gilray, a Scotchman, famous among the lovers of caricature; a man of talents, however, and uncommonly apt at sketching a hasty likeness. One of the merits of the picture is the portraits it contains, English and Austrian. The Duke of York is the principal figure, as the supposed conqueror; and the Austrian general, who actually directed the siege, is placed in a group, where, far from attracting attention, he is but just seen. The picture has great merit; the difference of costume, English and Austrian, Italian, etc., is picturesque. The horse drawing a cart in the foreground has that faulty affected energy of the French school, which too often disgraces the works of Loutherbourg. Another picture by the same artist, as a companion to this, is the ‘Victory of Lord Howe on the 1st of June.’ Both were painted at the expense of Mechel, printseller at Basle, and of V. and R. Green, purposely for prints to be engraved from them. For the pictures they paid £500 each, besides the expenses of Gilray’s journeys to Valenciennes, Portsmouth, etc.”
LOUTHERBOURG’S ECCENTRICITY.
One day, when he was painting, he observed his footman driving a poor, half-starved cat out of the area. He immediately called out, “John, bring the cat back.” “He was stealing a piece of meat, sir.” “Then he is hungry, and you must feed him.” “Sir, he has got the mange.” “Then the animal has a double claim on our commiseration. Bring him back, and you must feed and cure him too; and when he is cured, let me see him. I have an excellent receipt to cure that complaint.”
ATTITUDE IS EVERYTHING.
On another occasion, he was painting a snake pursuing a traveller, and could not please himself in regard to the attitude. He rang the bell for John, and, on his appearance, immediately caught him by the collar. The footman started back. “Your attitude is excellent,” cried his master. “That is all I wanted.”