Roger de Piles

In 1662 he became tutor to Michel Amelot de Gournay, whom he was to follow throughout his life, acting as secretary to his various missions as French ambassador to Venice, Portugal, Spain.

[1] In Venice (1682–1685) he started a famous collection of prints, drawings and paintings of Giorgione, Correggio, Rembrandt, Claude Lorrain, Rubens, Antoine Coypel, Jean-Baptiste Forest.

In his detailed study of the argument, Roger de Piles et les débats sur le coloris au siècle de Louis XIV (1965), B. Teyssèdre gives a touching account of the bohème of the "modern" réfusés in seventeenth century Paris, a history that was to repeat itself with the Impressionists.

She writes "It is less the values inherent in the style of Rubens and that of Poussin, and less the changing taste for each considered independently, but rather the differences perceived at any one time between the two that determined the dialectical structure of the history of art in France well into the nineteenth century.

"[4] In the course of the argument Roger de Piles introduced the term "clair-obscur" (Chiaroscuro) to highlight the effect of color in accentuating the tension between light and dark in a painting.

Painters who fell far behind Rubens and Raphaël but whose balance between color and design was perfect were Lucas van Leyden, Sebastian Bourdon, Albrecht Dürer.