Louis-Léopold Boilly

Louis-Léopold Boilly (1761-1845) was a French painter and draftsman. A creator of popular portrait paintings, he also produced a vast number of genre paintings documenting French middle-class social life. His life and work spanned the eras of monarchical France, the French Revolution, the Napoleonic Empire, the Bourbon Restoration and the July Monarchy. His 1800 painting Un Trompe-l'œil introduced the term trompe-l'œil ("trick the eye"), applied to the technique that uses realistic imagery to create the optical illusion that the depicted objects exist in three dimensions, though the "unnamed" technique itself had existed in Greek and Roman times.

Boilly was born in La Bassée in northern France, the son of a local wood sculptor. A self-taught painter, Boilly began his career at a very young age, producing his first works at the age of twelve or thirteen. In 1774 he began to show his work to the Augustinians of Douai who were evidently impressed: within three years, the bishop of Arras invited him to work and study in his diocese. While there, he produced a cascade of paintings, some three hundred small works of portraiture. He received instruction in trompe-l'œil painting from Dominique Doncre before moving to Paris around 1787.

At the height of the revolutionary Terror in 1794, Boilly was condemned by the Committee of Public Safety for the erotic undertones of his work. This offence was remedied by Boilly's eleventh-hour production of the more patriotic Triumph of Marat (now in the Musée des Beaux Arts, Lille) which saved him from serious penalties.

Boilly was a popular and celebrated painter of his time. He was among the first artists to produce lithographs and became wealthy from the sale of his prints and paintings. He was awarded a medal by the Parisian Salon in 1804 for his work, The Arrival of a Mail-coach in the Courtyard of the Messageries. In 1833 he was decorated as a chevalier of the nation's highest order, the Légion d'honneur.

Boilly's early works showed a preference for amorous and moralising subjects. The Suitor's Gift is comparable to much of his work in the 1790s. His small-scale paintings with carefully mannered colouring and precise detailing recalled the work of seventeenth-century Dutch genre painters such as Gabriël Metsu (1629-1667), Willem van Mieris and Gerard ter Borch (1617-1681), of whose work Boilly owned an important collection.

After 1794, Boilly began to produce far more crowded compositions that serve as social chronicles of the urban middle class. In these works, his observation of contemporary customs is slightly sentimental and often humorous.

Boilly was also well respected for his portraiture. By the end of his lifetime, he had painted about 5,000 portraits. He worked quickly and boasted of requiring only two hours to complete a portrait. He painted both middle-class sitters and prominent contemporaries such as Robespierre. Boilly's portraits strongly characterise the sitters as individuals, and are usually painted in a sober range of colours.

His interest in caricature is most apparent in his suite of 98 lithographs titled Recueil de grimaces, published between 1823 and 1828.

Boilly died in Paris on 4 January 1845. His youngest son, Alphonse Boilly (1801-1867), was a professional engraver who apprenticed in New York with Asher Brown Durand.