Charles-Nicolas Cochin

Charles-Nicolas Cochin (Feb 22, 1715 - Apr 29, 1790) was a French engraver, designer, writer, and art critic To distinguish him from his father of the same name, he is variously called Charles-Nicolas Cochin le Jeune, Charles-Nicolas Cochin le fils, or Charles-Nicolas Cochin II

Cochin was born in Paris, the son of Charles-Nicolas Cochin the Elder (1688–1754), under whom he studied engraving His mother was Louise-Magdeleine Horthemels (1686–1767), who herself was an important engraver in Paris for some fifty years

Beyond his artistic education, Cochin taught himself Latin, English, and Italian, and he read the work of the philosopher John Locke in the original

As well as having natural talent and academic training, Cochin benefited from good connections in the world of art As well as both of his parents being engravers, his mother's two sisters, Marie-Nicole Horthemels (b 1689, died after 1745) and Marie-Anne-Hyacinthe Horthemels (1682–1727), worked in the same field Marie-Nicole was married to the portrait artist Alexis Simon Belle, while Marie-Anne-Hyacinthe was the wife of Nicolas-Henri Tardieu Tardieu (1674–1749) was another eminent French engraver, a member of the Academy from 1720, who engraved the works of masters of the Renaissance and of his own time

He is the pupil of his parents, both engravers in the Rue Saint Jacques, Charles-Nicolas Cochin and Louise-Magdeleine Horthemels, as well as the painter Jean II Restout Early, he made his first engraving at the age of 12, in 1727

The Horthemels family, originally from The Netherlands, were followers of the Dutch theologian Cornelis Jansen and had links with the Parisian abbey of Port-Royal des Champs, the centre of Jansenist thought in France

In the 1730s, Cochin was a member of the Gobelins group which centred around Charles Parrocel

Cochin rose quickly to success and fame As early as 1737, he was employed by the young King Louis XV to make engravings to commemorate every birth, marriage, and funeral at the king's court, and from 1739 he was formally attached as designer and engraver to the Menus-Plaisirs du Roi, where all such ephemeral occasions were produced

He accompanied the Marquis de Vandières, future Marigny, in Italy from 1749 to 1751, with Soufflot and Abbé Le Blanc This trip will be decisive for his career and for the evolution of taste in France after 1751

In 1749 Mme de Pompadour selected Cochin to accompany her brother Abel Poisson, the future marquis de Marigny, on a study tour of Italy, in the company of the architect Jacques-Germain Soufflot and the art-critic Jean-Bernard, abbé Le Blanc Cochin, Soufflot and Marigny remained close friends on their return, when their considerable combined influence did much to bring about the triumph of Neoclassicism in France

On November 27, 1751, he was acclaimed a member of the Royal Academy of Painting and Sculpture without having to produce a reception piece which he did not present until much later in 1763

On his return in 1751 he was admitted a member of the Royal Academy of Painting and Sculpture, where he had been agréé since 1741 In 1752, following the death of Charles-Antoine Coypel, he was appointed as Coypel's successor as keeper of the king's drawings and given a lodging in the Louvre From 1755 to 1770, he had the title of the King's administrator of the arts, and in this role he commissioned work from other artists, established programmes for the decoration of the king's palaces and chateaux, and granted pensions Between 1750 and 1773, Cochin's work was directed by the Marquis de Marigny, King Louis XV's director of the Bâtiments du Roi Cochin was effectively Marigny's academic liaison

In 1750-1751, Cochin, with Jérôme-Charles Bellicard, accompanied Marigny on a visit to the excavations at Herculaneum In 1753, Cochin and Bellicard published their Observations upon the Antiquities of the Town of Herculaneum, the first illustrated account of the discoveries there, which largely caused the frescoes of Herculaneum to be disregarded Editions of the work in English were published in 1753, 1756, and 1758, and in French in 1754, 1755 and 1757

Cochin was able to influence the artistic taste of France and was one of his country's primary leaders of taste during the eighteenth century His years of greatest administrative influence were from 1752 to 1770

He was appointed historian-historian of the Academy in 1752 He succeeded Charles Antoine Coypel on June 23 of the same year in the role of custodian of drawings of the Cabinet of the king and that of royal censor He obtained letters patent of nobility on March 20, 1757 and later became knight of the order of Saint-Michel

In 1755, he became Secretary (secrétaire historiographe) of the Academy, a position he still held in 1771, and for one year he was director of the Société académique des Enfants d'Apollon

His cousin Belle, son of his maternal aunt Marie-Nicole and the common painter of the king, Alexis Simon Belle, was his executor

As well as being an engraver to the court, he was also a designer, a writer on art, and a portrait artist

King Louis XV rewarded Cochin's talents with a patent of nobility and membership of the Order of Saint Michael and granted him a pension However, after the death of Louis XV in 1774, Cochin fell out of royal favour, and in his later years he lived in comparative poverty

Works of art:
More than fifteen hundred works by Cochin can be identified They include historical subjects, book illustrations, and portraits in pencil and crayon The richest collection of his engravings, apparently selected by himself, is in the Royal Library, now part of the Bibliothèque nationale

Cochin's own compositions are usually rich, gracious, and speak of a man full of erudition

A notable piece of work is his frontispiece to the 1764 edition of Diderot's Encyclopédie, entitled Lycurgue blessé dans une sédition Of his historical work, the best known prints include The death of Hippolytus, after François de Troy, and David playing the harp before Saul As well as his many drawings, he illustrated more than two hundred books and also designed paintings and sculptures

With Philippe Lebas, an early master of Cochin's, he engraved sixteen plates in the series Ports of France, of which fifteen are after paintings by Vernet and one designed by himself

More than three hundred of his portraits are listed by Christian Michel in his monumental Charles-Nicolas Cochin et l'art des Lumières (1993)

Legacy:
In 1912, a typeface named Cochin, in honor of the artist, was designed by Georges Peignot The style was inspired by Cochin's engravings, however, it is not a direct copy of those presented in the prints
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