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Hoin, Claude(-Jean-Baptiste)
(b Dijon, 25 June 1750; d Dijon, 16 July 1817). French painter, teacher and museum administrator. The son of a prominent doctor in Dijon, he began his career there under the architect Claude-François Devosge II (1697–1777). He received a sound training in the principles of allegory and composition, which he put to good use in his earliest known work, the wash drawing of a filial Allegory in Honour of Jean-Jacques-Louis Hoin (1769; Dijon, Mus. B.-A.). Although he remained in lifelong contact with his first teacher and with the provincial bourgeois milieu of his youth, Hoin went to Paris in 1772 or 1773. There, under Jean-Baptiste Greuze, he immediately began copying portraits of young girls ‘to improve the delicacy of his touch’ (Portalis). In 1776 he was made a corresponding member of the Dijon Académie, and, although he was not a member of the Académie Royale in Paris, two years later he joined the académies of Lyon, Rouen and Toulouse. The fine pastel Portrait of a Young Girl (Toulouse, Mus. Augustins) was his morceau de réception for Toulouse. In 1779 he first exhibited at the Salon de la Correspondance in Paris; in 1782 he exhibited a gouache of his parents’ tomb (Dijon, Mus. B.-A.), and the following year he followed up with a series of pastel portraits and various miniatures. His official career had progressed in the meantime: in 1779 he was made professor of drawing at the Ecole Royale Militaire, and late in 1785 he was named official painter to the Comte de Provence (later Louis XVIII). He continued to paint simple genre scenes, allegories and actresses in costume. These gouaches, which he produced throughout the 1780s, were straightforward in composition, though occasionally he executed works of greater complexity, such as La Danse champêtre and La Conversation galante (both 1784; Vienna, Albertina). Miniatures he executed around this time include the Duchesse de La Trémoille and her Son (1788; priv. col., see 1963 exh. cat., pl. ix)—two tiny profile busts in a landscape setting—and Madame Elisabeth and the Dauphin (1793; Paris, Louvre).
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