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Louis Hersent (March 10, 1777 - October 2, 1860)
was a France|French painter.

Born in Paris, he became a pupil of Jacques-Louis
David|David, and obtained the Prix de Rome in
1797. In the Salon of 1802 appeared his
"Metamorphosis of Narcissus," and he continued to
exhibit with rare interruptions up to 1831. His
most considerable works under the empire were
"Achilles parting from Brisêis," and "Atala dying
in the arms of Chactas" (both engraved in Charles
Paul Landon|Landon's Annales du Musée); an
"Incident of the life of Fénelon," painted in
1810, found a place at Malmaison, and "Passage of
the Bridge at Landshut," which belongs to the same
date, is now at Versailles.

Hersent's typical works, however, belong to the
period of the Restoration; "Louis XVI of
France|Louis XVI relieving the Afflicted"
(Versailles) and "Daphnis and Chloë" (engraved by
Langier and by Gele) were both in the Paris
Salon|Salon of 1817; at that of 1819 the
"Abdication of Gustavus Vasa" brought to Hersent a
medal of honour, but the picture, purchased by the
duke of Orleans, was destroyed at the Palais Royal
in 1848, and the engraving by Henriquel-Dupont is
now its sole record. "Ruth," produced in 1822,
became the property of Louis XVIII of France|Louis
XVIII, who from the moment that Hersent rallied to
the Restoration jealously patronized him, made him
officer of the Legion of Honour, and pressed his
claims at the Institut de France (Académie des
Beaux-Arts), where he replaced van Spaendonck.

He continued in favour under Charles X of
France|Charles X, for whom was executed "Monks of
Mount St Gotthard," exhihited in 1824. In 1831
Hersent made his last appearance at the Salon with
portraits of Louis-Philippe of France|Louis
Philippe, Marie Amalie of Bourbon-Sicilies|Marie
Amélie and the Antoine, Duke of Montpensier|duke
of Montpensier; that of the king though good, is
not equal to the portrait of Gaspare
Spontini|Spontini (Berlin), which is probably
Hersent's chef-d'œuvre.

After this date Hersent ceased to exhibit at the
yearly salons. Although in 1846 he sent an
excellent likeness of Delphine Gay de
Girardin|Delphine Gay and one or two other works
to the rooms of the Société d'Artistes, he could
not be tempted from his usual reserve even by the
international contest of 1855.

1911