{"version":"1.0","type":"rich","provider_name":"La Tribune de l’Art","provider_url":"https:\/\/www.latribunedelart.com","title":"A drawing by L\u00e9pici\u00e9 for the Metropolitan","author_name":"B\u00e9n\u00e9dicte Bonnet Saint-Georges","width":"1600","height":"900","url":"https:\/\/www.latribunedelart.com\/a-drawing-by-lepicie-for-the-metropolitan","html":"\u003Ch4 class='title'\u003E\u003Ca href='https:\/\/www.latribunedelart.com\/a-drawing-by-lepicie-for-the-metropolitan'\u003EA drawing by L\u00e9pici\u00e9 for the Metropolitan\u003C\/a\u003E\u003C\/h4\u003E\u003Cblockquote class='spip'\u003E\u003Cp\u003EMuch less well known than his contemporaries Chardin and Greuze, to whom he was compared, Nicolas-Bernard L\u00e9pici\u00e9 certainly deserves a spotlight on his work. A painter of both history and genre scenes, he first studied engraving with his father Fran\u00e7ois-Bernard L\u00e9pici\u00e9, then painting with Carle Van Loo, winning the second Prix de Rome in 1758 for his interpretation\u003C\/p\u003E\u003C\/blockquote\u003E\n"}