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Early Life, Family and Training

Sébastien Leclerc II was born in Paris, France, on September 29, 1676. He grew up in a household where the lines of drawing were a constant presence. His father, Sébastien Leclerc, was already an established figure, and it was through him that the boy first learned the rudiments of drawing and painting. This early instruction provided a foundation rooted in the specific methods of his father's hand.

As his training progressed, he moved beyond the lessons of his father to continue his studies with Bon Boullogne. This period of learning helped shape his technical development during his formative years in Paris. He was the son of Sébastien Leclerc and Charlotte Van den Kerchove, growing up within a family deeply connected to the artistic traditions of the time.

Professional Career and Academic Life

His formal recognition within the French art establishment arrived on August 23, 1704, when he was admitted to the Académie royale de peinture et de sculpture as a painter. This status brought him closer to the royal court, where he served as the ordinary painter to the king. His life remained closely tied to the Gobelins, the place of his birth and his eventual death.

The Academy also became a place of instruction for him. In 1717, he was named assistant professor of perspective and geometry. By 1721, he had moved up to the position of professor. He held these academic roles for many years, even as he navigated the complexities of institutional life. In 1736, Philibert Orry appointed him as the director of the petite école des Gobelins.

Key Works and Style

The work of Sébastien Leclerc II is tied to the French Rococo Era. His reception piece for the Academy was La Déification d'Énée. This piece marked his formal entry into the institution as a painter. His hand moved between the precision of drawing and the weight of oil on canvas.

In 1718, he produced The Death of Sapphira (La Mort de Saphire). This oil on canvas measures 90,5 x 72 cm. The painting captures a specific moment of drama through its composition. It remains a notable example of his ability to handle large-scale subjects within the stylistic preferences of his time.