부산대학교 도서관

(b Uzès, nr Nîmes, April 12, 1840; d Paris, April 10, 1920). French painter. Although he studied engraving at the Ecole des Beaux-Arts in Lyon, he very early devoted himself exclusively to painting. In 1864 he settled in Paris, where his lyrical, zestful canvases, for example a Jester at the Court of Henry III (exh. 1866 Salon; Grenoble, Mus. Grenoble), quickly met with success. They chiefly show characters in medieval or Renaissance costume in attitudes of studied ease. Critics noted his strong colours and firm brushwork, regretting only that his shadows seemed too sooty. Roybet was influenced by Théodule Ribot and Antoine Vollon, and in his simple handling of his subjects and the unidealized faces of his models he is close to the Realist painters. Some of his works also testify to his admiration for Delacroix. In 1871–2 he travelled to the Low Countries and Algeria, the source of some superb harem scenes, such as Woman with a Parrot (St Petersburg, Hermitage). After discovering the Dutch and Flemish 17th-century masters he radically altered both his technique and subject-matter. He gradually abandoned canvas supports for mahogany boards prepared with a light-toned ground and acquired a more flowing touch, which gave his paintings a porcelain-like lustre. Despite the occasional allusion to Rembrandt, Hals and David Teniers the younger, he drew his greatest inspiration from the style of northern European genre painting adopted in France in the early 17th century. Hence gatherings of soldiers in taverns alternate with parties of gentlemen, for example a ...