Pierre Nivelle, Bishop of Luçon, after Lasne

Art Historical Context

Behold *Pierre Nivelle, Bishop of Luçon, Lasne* (1861), a masterful etching by Charles Mery, the renowned 19th-century French printmaker celebrated for his intricate urban scenes and innovative techniques. This intimate portrait reproduces an earlier work by 17th-century engraver Lasne, capturing the likeness of Pierre Nivelle Bishop of Luçon, adorned with ecclesiastical symbols like the cross. Measuring just 6 3/8 x 4 1/4 inches, it exemplifies the etching revival of the mid-1800s, where artists like Meryon breathed new life into historical subjects through meticulous craftsmanship. What sets this print apart is its unconventional medium: etched on tin and printed on laid paper, in the fifth and final state as cataloged by Richard Schneiderman. Tin plates, softer than traditional copper, allowed Meryon to achieve delicate, velvety lines and rich tonal depths, ideal for conveying the bishop's solemn expression and textured robes. Acquired through the Rogers Fund in 1917, this work from the Metropolitan Museum of Art's Drawings and Prints collection highlights Meryon's skill in portraiture, bridging Renaissance engraving traditions with Romantic-era precision. For visitors, this modest gem offers a window into 17th-century clerical life, reimagined through a modern master's eye—perfect for pondering the enduring power of portrait prints in preserving history.

About the Artist

Charles Meryon|Michel Lasne|Pierre Nivelle · 1821–1868

Charles Meryon, born on November 23, 1821, in Paris, was the illegitimate son of English physician Dr. Charles Lewis Meryon and dancer Pierre-Narcisse Chaspoux (stage name Narcisse Gentil) at the Paris Opéra. His half-sister Fanny, from his mother's prior relationship with Viscount Lowther, remained in contact after their mother's death in 1838. Raised partly outside Paris before attending Pension...