Louis Pierre Henriquel-Dupont

• Illustration — Louis-Pierre Henriquel-Dupont on a bronze medal by David d'Angers. Between the ages of 14 and 17, he studied painting in the studio of Pierre-Narcisse Guérin at the École des beaux-arts in Paris. He then devoted himself for four years to an apprenticeship in engraving under Charles Clément Balvay, nicknamed "the last of the fine burinists", who made him copy the great masters. Between 1816 and 1818, Henriquel lost out on the first prize for engraving twice, which determined him to set up his own studio and follow new styles. Under the influence of English engravers and of Girard Audran, he tended towards "a live, witty and clear line". In 1831 his engraving after Louis Hersent's Abdication of Gustavus Vasa established his reputation and won him the légion d'honneur. He then worked for six years on his masterwork, an engraving of Paul Delaroche's Hemicycle of the fine arts - this engraving won an honorary medal at the Paris Salon of 1853. In 1849 he was elected a member of the Académie des beaux-arts. He became a professor at the École des beaux-arts in 1863 and founded the Société française de la gravure in 1868. In 1871 he was made president of the Académie des beaux-arts and was still engraving aged 85.

Working not only with the burin but also in the varied fields of lithography, etching and aquatint. His other originality is in having engraved many paintings by his contemporaries: Paul Delaroche, Ary Scheffer, Dominique Ingres, Joseph-Nicolas Robert-Fleury, Antoine-Jean Gros, François Gérard; it was only towards the end of his life that he dealt with the old masters such as Veronese, Corregio or Caravaggio. As an illustrator, he notably engraved works by Alexandre-Joseph Desenne's and Achille Devéria's vignettes for the Fables by La Fontaine and for La Pucelle d'Orléans by Voltaire, though it is his portraits for which he is most noted:

• Illustration — Painting by Paul Delaroche (1841–42). • Illustration — Engraving by Henriquel-Dupont (1853). The central panel of the Hemicycle of the Fine Arts at the École nationale supérieure des beaux-arts in Paris. Assis au fond: Ictinos, Apelles, Phidias. To the left: ancient Greek and medieval art. To the right: ancient Roman and Renaissance art. Centre:allegory of Art. Two artists, Théophile Gautier and Charles Blanc, have compared Delaroche's work to that of Henriquel, both preferring the engraver to the painter:

• Illustration — Portrait by Ingres (1832). • Illustration — Engraving by Henriquel-Dupont (1844). One of Henriquel-Dupont's most famous portraits is that of the journalist Louis-François Bertin, engraved in burin after the portrait by Ingres. When they were both shown at the Paris Salon of 1845, Baudelaire preferred the painting to the engraving:

• Louis-Philippe (after François Gérard) • Bertin (after Jean-Auguste-Dominique Ingres) • Ary Scheffer (after Léon Benouville)

• Burial of Christ (after Hippolyte Delaroche) • The Abdication of Gustavus Vasa (1831, after Louis Hersent) • Christus als Tröster (after Ary Scheffer) • The Mystic Marriage of Saint Catherine (1867, after Correggio) • Moses (after Hippolyte Delaroche) • The Supper in Emmaus (Ätzdruck, after Paolo Veronese) • General Lariboisière and his son (after Antoine-Jean Gros

Louis Pierre Henriquel-Dupont was recorded at birth as Louis Pierre Henriquel dit Dupont. The authorities additionally record the headings Henriquel-Dupont, Louis-Pierre Henriquel- Dupont, Louis-Pierre Henriquel, Henriquel Dupont and Louis Pierre Henriquel. His recorded language was French. He was the child of Joseph-Pierre Henriquel-Dupont.