Bourdon, Sébastien

▪ French painter

born Feb. 2, 1616, Montpellier, Fr.

died May 8, 1671, Paris

 French painter with a considerable reputation for landscapes who used nature largely as a backdrop for historical and religious works. He also was known for his colourful caricatures and strikingly lifelike portraits. Bourdon excelled at imitating the styles of other painters and adding a personal touch, but he never developed a distinctive style of his own.

      At the age of seven he was sent by his father to Paris as an apprentice to a painter, but he left his apprenticeship when he was 14 and traveled to Bordeaux and then to Toulouse. Having no financial support, he enlisted in the army, but an officer recognized his artistic talent, discharged the young man, and in 1634 financed a visit to Rome. There Bourdon became acquainted with the painters Claude Lorrain and Nicolas Poussin and worked for an art seller by providing imitations of their works.

      Bourdon returned in 1637 to Paris, where he soon obtained commissions. In 1643 he was commissioned to paint St. Peter's martyrdom for Notre-Dame, and he completed several other works during this time, including the decoration of the Hôtel de Grammont and the “Martyrdom of St. Andrew” for the chapter of the Church of Saint-André in Chartres. In 1648 Bourdon was one of the founders of the French Royal Academy, in which he became professor and rector and led an impressive series of public lectures on current issues in art.

      In 1652 Bourdon went to Sweden, where he rapidly became the chief painter of Queen Christina, who posed for him several times. In 1653 he returned to Paris, where he carried out commissions for the government in addition to painting “Dead Christ” for the church of Saint-Benoît. In 1657 he went to Montpellier to paint a large work for the cathedral, “The Fall of Simon Magnus.”

      In the final years of his life Bourdon executed commissions for the city of Cologne and the Abbey of St. George. His masterpiece, the decoration of the gallery of the Hôtel de Bretonvilliers, belongs to this period. His final work, “The Deification of Hercules,” in the Tuileries Palace, was interrupted by his death.

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