Roger de Piles

Piles, Roger de

Piles, Roger de (b Clamecy, 7 Oct. 1635; d Paris, 5 Apr. 1709). French writer on art, amateur painter, and diplomat. De Piles was employed by Louis XIV on various confidential missions (he was imprisoned as a spy in Holland, 1692–7) and his travels enabled him to study the arts at first hand in various European countries. His best-known book is Cours de peinture par principes avec une balance des peintres (1708), which has become notorious for the section (the ‘balance des peintres’) in which he awarded marks to great artists of the past for their skill at composition, drawing, colour, and expression, then added up the scores to form a sort of league table of genius (his criticism, however, is usually much less crude than this). Raphael and Rubens come out with the joint highest marks in his scheme, and his admiration for the latter was shown in the famous controversy of the ‘Rubénistes’ against the ‘Poussinistes’ (see Poussin) that split the French Académie Royale (see academy) in the second half of the 17th century. De Piles took the side of the Rubénistes, who believed that colour is of prime importance in painting, in opposition to those who upheld the academic emphasis on drawing. He also recognized the value of genius, imagination, and ‘enthusiasm’, as opposed to skills that can be learnt.

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Piles, Roger de

Piles, Roger de (1635–1709). French writer on art, amateur painter, and diplomat. De Piles was employed by Louis XIV on various confidential missions (he was imprisoned as a spy in Holland, 1692–7) and his travels enabled him to study the arts at first hand in various European countries. His best-known book is Cours de peinture par principes avec une balance des peintres (1708), which has become notorious for the section (the ‘balance des peintres’) in which he awarded marks to great artists of the past for their skill at composition, drawing, colour, and expression, then added up the scores to form a sort of league table of genius (his criticism, however, is usually much less crude than this). Raphael and Rubens come out with the joint highest marks in his scheme, and his admiration for the latter was shown in the famous controversy of the ‘Rubensistes’ against the ‘Poussinistes’ (see Poussin) that split the Académie Royale (see academy) in the second half of the 17th century. De Piles took the side of the Rubensistes, who believed that colour is of prime importance in painting, in opposition to those who upheld the academic emphasis on drawing. He also recognized the value of genius, imagination, and ‘enthusiasm’, as opposed to skills that can be learnt.

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IAN CHILVERS. "Piles, Roger de." The Concise Oxford Dictionary of Art and Artists. 2003. Encyclopedia.com. 1 Jun. 2012 <http://www.encyclopedia.com>.

IAN CHILVERS. "Piles, Roger de." The Concise Oxford Dictionary of Art and Artists. 2003. Encyclopedia.com. (June 1, 2012). http://www.encyclopedia.com/doc/1O3-PilesRogerde.html

IAN CHILVERS. "Piles, Roger de." The Concise Oxford Dictionary of Art and Artists. 2003. Retrieved June 01, 2012 from Encyclopedia.com: http://www.encyclopedia.com/doc/1O3-PilesRogerde.html

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De Piles, Roger

De Piles, Roger. See Piles.

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IAN CHILVERS. "De Piles, Roger." The Oxford Dictionary of Art. 2004. Encyclopedia.com. 1 Jun. 2012 <http://www.encyclopedia.com>.

IAN CHILVERS. "De Piles, Roger." The Oxford Dictionary of Art. 2004. Encyclopedia.com. (June 1, 2012). http://www.encyclopedia.com/doc/1O2-DePilesRoger.html

IAN CHILVERS. "De Piles, Roger." The Oxford Dictionary of Art. 2004. Retrieved June 01, 2012 from Encyclopedia.com: http://www.encyclopedia.com/doc/1O2-DePilesRoger.html

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Free newspaper and magazine articles

Brody's top of the pile; ROGER RYAN MEETS LANE.(Features)
Newspaper article from: The Mirror (London, England); 7/20/2006
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