THE mere fact that many of the drawings and paintings which are now with good reason believed to be the work of Jean or Jehan Clouet (called Jehannet) passed, at a time when art criticism followed methods less scientific than those which prevail at present, under the name of Holbein, should suffice to indicate that Clouet’s art belongs essentially to the Renaissance, and that the Primitive or Gothic period had come to a close when he arrived in France from the Netherlands, where he was born about 1475. He apparently worked first at Tours, where his presence in 1516 is testified by documentary evidence; and he went to Paris before 1529. Although he was never naturalised, he became Groom of the Chamber to François i., and enjoyed an enormous reputation for his skill in portraiture. He died in 1540 or 1541.

JEAN CLOUET’S DRAWINGS

Not a single drawing or painting that has come down to us from this period, which was remarkable for its enormous production in Court portraiture, bears the signature of Jehan Clouet; but as a number of the best portrait drawings in the famous Chantilly collection—notably that of the Preux de Marignan—are obviously from the same hand, and extend, as can be proved from the age of the personages portrayed, from 1514 to 1540,—the very years when Jean Clouet is known to have worked in France,—it is quite reasonable to assume that artist to be the author of this group of drawings. Their superiority over all the other drawings of the period would account for the fame enjoyed by the elder Clouet among his contemporaries.

On the strength of these drawings it has been possible to ascribe to Jean Clouet a few painted portraits which are obviously based on the drawings and show, apart from such differences as must necessarily result from the use of a different medium, the same characteristics—firm draughtsmanship, a sure delicate touch in the delineation of the features, and also a certain stiffness and hardness of contour which are never to be found in the otherwise very similar but always supple and masterly handling of Holbein. It is now known that practically all the painted portraits of the period were executed from the delicate drawings in black and red chalk, of which so vast a number have come down to our day. But the fact that the vast majority of these drawings served as models to different painters leaves the question of attribution in a state of uncertainty. The mere tracing back of a picture to some extant drawing of acknowledged authenticity cannot be taken as proof of their common origin.

Two pictures at the Louvre are attributed to Jean Clouet. Both are portraits of François I., King of France, but only the smaller one (No. 127) appears to be from his hand. Clouet’s royal patron is here depicted in three-quarter profile to the right, at the age of about thirty, so that the picture may be assumed to have been painted about the year 1524. It is based on a drawing in the Chantilly collection. The larger Portrait of François I. (No. 126) has at various times been attributed to Jean Clouet, Mabuse, and Joost van Cleef, but is, as has been pointed out by M. Dimier, pronouncedly Italian in colour and in the treatment of the costume and hands.

FRANÇOIS CLOUET

Towards the end of his life Jean Clouet was assisted in the execution of his numerous commissions by his brother Clouet de Navarre, to whom is attributed the Portrait of Louis de Saint-Gelais, Lord of Lansac, Captain of one of the “Compagnies des cent Gentilshommes” under Charles IX. (No. 134), and by his son François Clouet (1500?–1572). It has been stated that François Clouet, who was to become after his father’s death the favourite portrait painter of François i., Henri ii., Catherine de Médicis, François ii., and Charles ix., was born at Tours; but it is far more likely that he too was born in the Netherlands, and, while still young, accompanied his father to France. Practically nothing is known of his life before the year 1541, when François i. renounced to Clouet his kingly right to the artist’s inheritance, which could have been claimed by the Crown as the estate of a foreigner. In the same year François Clouet was appointed Groom of the Chamber and Painter-in-Ordinary to the King.

The Louvre is fortunate in possessing one of the exceedingly rare signed pictures by this artist in the Portrait of Pierre Quthe (No. 127a), which was found in Vienna a few years ago by M. Moreau-Nélaton and presented to the Gallery by that active and patriotic institution, the Société des Amis du Louvre. Pierre Quthe was a notable burgher and apothecary of Paris, who owned one of the finest gardens in that city. He was an intimate friend and neighbour of François Clouet in the rue St. Avoye. In the Louvre painting, which bears in the left-hand bottom corner the inscription

FR. IANETII OPVS

E. QUTTO AMICO SINGVLARI