Who painted Pierre le Clerc, Doctor of Theology in Paris?

Pierre le Clerc, Doctor of Theology in Paris was painted by Pierre Daret de Cazeneuve in 1641.

Where can I see Pierre le Clerc, Doctor of Theology in Paris?

Pierre le Clerc, Doctor of Theology in Paris is held by National Gallery of Art.

What movement is Pierre le Clerc, Doctor of Theology in Paris?

Pierre le Clerc, Doctor of Theology in Paris is associated with Baroque.

Artwork

Pierre le Clerc, Doctor of Theology in Paris

Pierre Daret de Cazeneuve , 1641

Pierre le Clerc, Doctor of Theology in Paris is an ink print by the Baroque artist Pierre Daret de Cazeneuve. It dates from 1641 and is held in the collection of the National Gallery of Art. Created in 1641, this black‑and‑white print depicts Pierre le Clerc, a Doctor of Theology based in Paris.

About this work

Overview

Created in 1641, this black‑and‑white print depicts Pierre le Clerc, a Doctor of Theology based in Paris. Executed as an engraving, the work presents a solitary figure in a dark academic robe, his lined face and high‑collared attire conveying a solemn demeanor.

Subject & Meaning

The portrait captures le Clerc in his scholarly role, emphasizing his intellectual authority through the formal robe and restrained expression. The plain background eliminates distractions, directing focus to his visage and the gravitas associated with theological scholarship in 17th‑century France.

Technique & Style

Engraved by Pierre Daret de Cazeneuve, the image relies on dense cross‑hatching to render texture, volume, and shadow. Fine, intersecting lines build the subtle gradations of light across the face and fabric, a hallmark of early modern printmaking that seeks realism through linear detail.

History & Provenance

The print originates from the French print market of the early 1640s, a period when portrait engravings served both documentary and commemorative purposes. While specific ownership records are scarce, the work likely circulated among academic and clerical circles familiar with le Clerc’s reputation.

Context

In the mid‑17th century, engravings functioned as a primary means of disseminating images of notable intellectuals. This portrait aligns with contemporary conventions that presented scholars in austere attire, reinforcing the social status of theology within the broader cultural hierarchy of the Ancien Régime.