Holbein, Watteau, Boucher, Greuze, John Raphael Smith and Sir Thomas Lawrence all made use of the coloured chalk. In 1747 Nattier (1685-1766) showed a pastel portrait of M. Logerot in the Paris Salon, and his son-in-law, Louis Tocque (1696-1772), soon followed with similar work. Hubert Drouais (1699-1767) had preceded his rival Nattier in the Salon by a single year with five pastel portraits, and Chardin (1699-1779) followed in 1771. This great master set himself to work in emulation of Quentin de la Tour (1704-1788), who in spite of the ability of his rivals may be regarded as the most eminent pastellist France has pro duced. His full strength as a portrait-pastellist is to be gauged in the collection of eighty-five of his principal works now in the museum of St. Quentin. Then followed Simon Mathurin Lantara (1729-1778), who was one of the first to paint pastel-pictures of landscapes.
Two Swiss painters had considerable influence in spreading the use of pastel—the experimentalist Dietrich Meyer (1572-1658), one of the first to make designs in coloured chalks (and reputed inventor of soft-ground etching), and Jean Etienne Liotard (1702 or 1704-1788), one of the most brilliant pastellists who ever lived. Two of his works are world-famous, "La Belle Chocolatiere de Vienne," executed in 1745, now in the Dresden Museum, and "La Belle Liseuse" of the following year at the museum at Am sterdam. The latter is a portrait of his niece, Mlle. Lavergne. Crayon-painting was practised in England at an early date, and John Riley (1646-1691), many of whose finest works are at tributed to Sir Peter Lely, produced numerous portraits in that medium. Francis Knapton (1698-1778), court painter, was a more prolific master, and he, with William Hoare of Bath ( ?17o7– 1792) who had studied pastel in Italy, prepared the way for the triumph of Francis Cotes (?1725-177o). Then for the first time pastel-painting was fully developed by an English hand. Before he became a painter in oil Cotes had worked under Rosalba Carriera, and, although he was rather cold and chalky in his tones, he produced portraits, such as his "Mr. and Mrs. Joah Bates" and "Lord Hawke," which testify to his high ability. He was, however, far surpassed by his pupil, John Russell, R.A. (1745-1806), who brought the art to perfection, displaying grace and good expression in all his pastel work, whether portrait, fancy picture, historical subject, group, or "conversation-piece." Romney (1734-1802) in his single pastel portrait, a likeness of William Cowper the poet, showed that he might have excelled in this medium, which, indeed, was particularly suited to his tender manner. Hugh D. Hamilton (c. 1734-1806) of the Royal Hiber nian Academy, Ozias Humphry, A.R.A. (1742-1810), Richard Cosway, R.A. (1742-1821) and his wife Maria Cosway 1838) are among the better known English pastellists. Daniel Gardner (?1750-18o5), whose pictures in oil have often been mistaken for Reynolds's and Gainsborough's, gave rein to his exuberant fancy and his rather exaggerated taste in compositions. Gardner marked the deterioration of the art, which thereafter declined, Henry Bright (1814-1873) being almost the only pas tellist of real power who followed him. Bright's landscapes have
probably in their own line never been surpassed.
Since 1870 there has been a revival of the art of pastel, the result of a better understanding and appreciation on the part of the public. The art of pastel, as M. Roger Ballu expressed it, "was slumbering a little," until in 1870 the Societe des Pastellistes was founded in France and met with ready appreciation. With many artists it was a matter of "coloured chalks," as, for example, with Millet, Lhermitte and Degas in France, and with Whistler in England. With the majority the full possibilities were seized, and a great number of artists abroad then practised the art for the sake of colour, among whom may be mentioned Adrien Moreau, A. Besnard, Emile Levy, Machard, Pointelin, Georges Picard, de Nittis, Twill, Rene Billotte, Jozan, Nozel, Raffielli, Brochard (mainly upon vellum) and Levy-Dhurmer in France; in Belgium, Emile Wauters (who has produced a great series of life-sized por traits of both men and women of amazing strength, vitality and completeness) and Fernand Khnopff ; in Italy, C. Laurenti, P. Fragiacomo and Giovanni Segantini; in Holland, Josselin de Jong; in Germany, F. von Lenbach, Max Liebermann and Franz Stuck; and in Norway, Fritz Thaulow.
America has also been closely identified with the revival of the art. Among the various American painters who have been par ticularly successful in the use of pastel are : Mary Cassatt, Thomas W. Dewing, Robert Blum, Jerome Myers, W. J. Glackens, Albert Sterner, Everett Shinn, J. Wells Champney and James Alden Weir.
In England the revival of pastel dates from 188o, when the first exhibition of the Pastel Society was held in the Grosvenor Gallery. The exhibition was a succes d'estime, but after a while the society languished until, in 1899, it was reconstituted, and obtained the adhesion of many of the most distinguished artists practising in the country, as well as of a score of eminent foreign painters. In that year, and since, it has held exhibitions of a high order; and intelligent public appreciation has been directed to the work of the most noteworthy contributors. Among these are E. A. Abbey, R.A. ; M`Lure Hamilton, J. M. Swan, R.A. ; J. Lorimer, R.S.A. ; A. Peppercorn, R. Anning Bell, J. J. Shannon, R.A.; Sir James Guthrie, P.R.S.A.; H. Brabazon, Walter Crane, Melton Fisher, Edward Stott, A.R.A.; S. J. Solomon, R.A., and W. Rothenstein.