Jacques-Antoine-Marie LEMOINE is a French portrait painter, miniaturist and porcelain painter. His work includes many portraits of actors and singers, artists, financiers and even men of power. He exhibited at the salon from 1795 to 1817. He was also interested in music with some success. LEMOINE also worked on geometry and perspective and especially in their relation into drawing and painting but in manuscript form, his work was never published. Jacques-Antoine-Marie LEMOINE, also known as Le Moyne, was born in Rouen, July 17, 1751, in a family of the wealthy class. His father was a notary and adviser to the king. Jacques-Antoine-Marie LEMOINE was destined to embrace the paternal career, he was a student at the Jesuit college in Rouen but also took fine arts drawing lessons at Jean-Baptiste DESCAMPS' school, for personal taste. Under the name of “Charles Le Moyne” at the School of Fine Arts in Rouen, he obtained different prizes: the first prize of drawing in 1767, the first prize of drawing after the bump in 1768 and two prizes for drawings from nature in 1769 and 1770. He definitely chooses a career in the arts, since "Jacques Antoine Marie le Moyne, de Rouen" is registered in Paris as a student painter at the Royal Academy of Painting in 1775. He becomes a student of Jean-Jacques LAGRENEE (1737-1821) , and lives with is uncle house, rue Beaurepaire in Paris 10th. He quickly left the workshop of LAGRENEE to enter the workshop of Maurice Quentin de LATOUR (1704-1788), the “master” of pastel and in the same time the workshop of the engraver Jean-François JANINET (His early works, from the 1770s, were often miniature drawing portraits and intended for printmaking, which he seems to have experimented with on his own). The profile portraits representing Marie-Antoinette and Louis XVI (1773 and 1774) stood out and opened the doors to the Parisian merchant Jean-Baptiste-Pierre LE BRUN (husband of Elisabeth Vigée-LEBRUN). This gives him access to the court of Marie-Antoinette but also to the world of theater. LEMOINE married on January 23, 1783, Agathe Françoise BONVALLET, a former student of DESCAMPS, extraordinary prize in the drawing class in Rouen in 1781. From his marriage, LEMOINE will turn to the miniature portrait on ivory which, by its high price, should allow him to establish his family. It is therefore conceivable that his wife, trained in copying, could have been his collaborator in a family workshop with abundant production and great technical expertise. LEMOINE start also working on porcelain and made remarkable porcelain portraits. LEMOINE seems to have associated for a time with JANINET, since they jointly produced portraits of lyrical artists and members of the Comédie Française, published by LE VACHER de CHARNOIS in "Costumes et annales des grands théâtres de Paris" in 1787. LEMOINE will also be the author of a serie of fashion drawings intended to illustrate, in the form of prints, the Galleries of French fashions and costumes of ESNAULT and RAPILLY. In 1777, he painted the portrait of Thomas Barthélemy LE COUTEULX (1714-1791). The portrait of this high magistrate and banker was the first in a long series of portraits that the "First President of the Court of Accounts, Aides and Finances of Normandy" commissioned from LEMOINE. Between 1777 and 1789, LEMOINE produced an important iconography in the service of the prestige family of LE COUTEULX. He became the official portrait painter, not only of the LE COUTEULX family, but also of its heterogeneous social network to which both the actress Madame DUGAZON (mistress of Jacques-Jean LE COUTEULX du MOLAY) belonged, himself cousin and husband of Sophie LE COUTEULX du MOLAY (niece of Barthélemy-Thomas and who lived in La Malmaison before BONAPARTE) where she received her exotic lover Pablo de Olavide (writer, lawyer and Spanish administrator of Peruvian origin) or even Baron Friedrich Melchior GRIMM. After the death of his wife on November 10 1794, but above all because his clients were either emigrated or outright executed during the French revolution, LEMOINE left Paris to return to Rouen with his two daughters, which did not prevent him to take advantage of the opportunity given to him to exhibit at the Salon, which has been open to all artists of minor genres since the fall of the Royal Academy. In Rouen, he joined the Society of Emulation in 1795, which had taken over from the suppressed academy, as a "former painter". During this period, he returned to redraw in black chalk his previous portraits - even copies ("Madame du Barry", after the painting of Vigée-Lebrun in 1796 for example) - or new ones of notable citizens such as the family Le Couteulx, whom he finds more or less refugees in Rouen in the 1790s. We also find Lemoine “painter in Paris who was then in Rouen”, invited to join "to help the jury of its lights" during the judgment of the drawing prizes of the Central School in Thermidor year VI. At the same time as his career as a portrait painter, he began to teach drawing to students of the Navy at the request of his friend the engineer-hydrographer and freschly appointed Minister of the Navy by Bonaparte in 1799, Pierre-Alexandre-Laurent FORFAIT. LEMOINE will held this post until 'in 1810, which certainly compensates the financial difficulties encountered by LEMOINE during this period of crisis. His production of portraits is falling sharply from 1798. It is probably in this context that LEMOINE wrote a thesis on perspective and another on geometry, both in their relation to drawing and painting. But he is also distinguished by research which brings him singularly closer to the mechanics applied to the production of the image, in particular by perfecting an easel with "horizontal perspective" intended for landscapers, as well as a "small machine for making portraits. resemblances in ten minutes ”, that is to say a physiognotrace. He also established in Rouen a small manufacturer of drawing pencils to ensure an income for his daughters. LEMOINE divides his time between Paris and Rouen until the end of his life. He died in Paris on February 7, 1824, in his apartment at the Hôtel de Bullion.