name. He trained with Jacques-Louis David, becoming
one of the master's favorite students and assisting on sev-
eral of his works. Langlois placed second in the Prix de
Rome of 1805, then won first prize in 1809. He was in
Rome from 1810 to 1815. Langlois showed his works
regularly at the Salon, taking a second prize in 1817 for
Cassandra Imploring the Vengeance of Minerva (Louvre)
and first prize in 1819 for Alexander Ceding Campaspe to
Apelles (Musée des Augustins). Langlois's historical and
mythological paintings such as Diana and Endymion of
1822 (Louvre) are strongly neoclassical in style. In 1824
he went to Brussels to paint the portrait of the exiled Da-
vid (1825; Louvre), who died soon thereafter. Langlois
was made a member of the Académie shortly before his
own death.
HANNS LAUTENSACK
Bamberg circa 15 20-Vienna circa 1564/66
The son of a painter and musician, Lautensack moved
with his family to Nuremberg in 1527. He is likely to
have trained with a goldsmith and also studied the
graphic work of Altdorfer, as is evidenced by his two ear-
liest landscape etchings of 1554. Among the highpoints
of his early career are the multiplate etchings of Nurem-
berg viewed from the east and west (1522). During this
period he also began to produce portrait prints of Nu-
remberg patricians into which he incorporated delicately
rendered landscape backgrounds. In 1554 Emperor
Ferdinand I summoned him to Vienna to publish the
imperial coin collection. Lautensack's later cycles of
landscape etchings, dated 1554-55 and 1558-59, are pan-
oramic in scope and frequently incorporate figurai staf-
fage. Although some documents refer to him as a painter,
there are no surviving paintings by him.
HENRI LEHMANN (Karl Ernest Rodolphe
Heinrich Salem Lehmann)
Kiel 1814-Paris 1882
The son of a painter, Lehmann moved from Germany to
Paris in 1831 and entered the studio of Ingres, where he
became one of his master's favorite pupils. Lehmann
made his Salon debut in 1835 with Departure of the Young
Tobias of 1834 (Hamburg, Kunsthalle) and several por-
traits. In late 1838 he joined Ingres in Rome, where he
stayed until early 1840. He returned to Paris to show two
history paintings and a portrait in the Salon of 1840. After
a second brief trip to Italy, Lehmann settled in Paris in
1841 and began to exhibit regularly at the Salon. He be-
came famous for his extremely refined portraits, such as
Comtesse d'Agoult of 1843 (Paris, Musée Carnavalet).
Among his other works are two decorative schemes for
the Parisian church of Saint-Merri, completed in 1844
and 1866. He became a member of the Académie in 1864
and—in 1875—a professor at the Ecole des Beaux-Arts,
where he taught Pissaro and Seurat, among others.
Throughout his career Lehmann remained an ardent
classicist in the style he learned from Ingres.LEONARDO DA VINCI
Vinci 1452-Amboise 1519
Leonardo's career embraced the arts of painting, sculp-
ture, architecture, and music. His interests also included
a variety of sciences, as is evidenced in his notebooks. He
was apprenticed to Andrea del Verrocchio, one of the
leading painters and sculptors of the fifteenth century.
Leonardo's youthful Florentine paintings include the
portrait of Ginevra de' Benci of circa 1474 (National Gal-
lery of Art) and the unfinished Adoration of the Kings of
1481-82 (Uffizi). In 1481 or 1482 he moved to Milan to
work at the court of Duke Ludovico Sforza. There he
painted the Virgin of the Rocks of circa 1482-83 (Louvre)
and the fresco of the Last Supper in Santa Maria delle
Grazie (circa 1495-96). Leonardo left Milan in 1499 and
visited Mantua and Venice. Returning to Florence in
1500, he painted the Mona Lisa of circa 1503 and began
work on the Virgin and Saint Anne (circa 1508-10; both
Louvre). In 1506 he was invited to work for the French
Crown in Milan. There he stayed through 1513, save for
a visit to Florence between the autumn of 1507 and that
of 1508. Leonardo visited Rome in 1513 and in 1516 ac-
cepted the invitation of Francis I to live in France, where
he spent the last years of his life.MAIR VON LANDSHUT
Freising(?) circa i45O-Landshut(?) after 1504
His probable birth in Freising is indicated by the earliest
documentary mention of him, in the Munich tax records
of 1490, where he is called "Mair Maler von Freising"
(Mair, painter of Freising). I n Munich he appears to have
been an assistant to the painter Jan Polack, as is evidenced
by several panels attributed to him that were made as part
of Polack's altarpiece (circa 1490) for the church of Saint
Peter (Peter Healing a Madman [Bayerisches National-
museum]; Saint Peter in Prison [Munich, Church of Saint
Peter]). Later paintings include Scenes from the Passion of
1495 in the sacristy of Freising cathedral. During his sub-
sequent career Mair appears to have been active in Land-
shut. He is principally appreciated for his graphic oeuvre
consisting of twenty engravings, three woodcuts, and
over a score of drawings, many of which are signed and
dated. He anticipated the chiaroscuro woodblock tech-
nique of Hans Burgkmair and Lucas Cranach the ElderARTISTS BIOGRAPHIES 337