Suggest an Edit — Louis Leroy

Suggest corrections or additional details for Louis Leroy. Your submission will be reviewed before it appears on the site.

Name & Status

Name *

Status / Title

e.g. "Saint", "Blessed", "Venerable", "Servant of God"

Dates

Optional — leave blank if unknown.

Year Born

Year Died

Places

Country

Birth City

Birth Country

Death City

Death Country

Burial Place

Church & Canonization

Church / Rite

Canonized By

Beatified By

Roles & Family

Pope

Patriarch

Married

Children

Religious Order

Spouse

Apostle

Patronage & Feast Day

Feast Day

e.g. January 28, March 19

Patron Of

Separate multiple patronages with semicolons (e.g. "Students; Theologians; Academics")

Biography

Short Description

Louis Leroy was a French journalist, playwright, painter, and art critic born in Paris in 1812. He spent his working life in the capital’s press and theatrical world across the July Monarchy, the Second Empire, and the early Third Republic. He became a regular contributor to the satirical illustrated paper Le Charivari, where he combined cultural commentary, humor, and art criticism. In parallel he wrote numerous comedies and vaudevilles that were staged in Parisian theatres and also practiced painting and engraving, exhibiting in the official Salon in a conventional academic manner.

His lasting place in art history rests on a single satirical review published in Le Charivari on 25 April 1874. Written as a comic dialogue, the article mocked the first independent group exhibition held by painters who had been refused by, or had chosen to bypass, the official Salon. Taking the title of Claude Monet’s canvas Impression, soleil levant as his cue, Leroy derisively labelled the participants “impressionists.” The intended insult was soon adopted by the artists themselves and by later critics, becoming the standard name of the movement.

Beyond that review, Leroy continued to write for newspapers and the stage through the following decade. His plays enjoyed contemporary popularity even if they have not remained in the repertoire. As a painter he remained far from the innovations he had ridiculed. Little is recorded of his private life, family circumstances, or personal beliefs; the surviving record is almost entirely professional. He died in Paris in 1885.

The paradox of his reputation is therefore complete: a conservative critic whose mockery furnished the name of one of the most celebrated artistic revolutions of the modern era, while the rest of his substantial journalistic and theatrical output has largely receded from view.

Detailed Narrative

Additional Notes

Notes for Reviewer

Photo

Upload a Photo (optional)

JPEG, PNG, or WebP. Maximum 5 MB.

Your Info (optional)

For follow-up only — never displayed on the site.

Your Name (optional)

Your Email (optional)

Verification

Solve the simple math problem below

Cancel