any of the artists and critics who championed the sovereignty of colour over design and drawing in the “quarrel” of colour versus drawing that broke out in the French Royal Academy of Painting and Sculpture in Paris in 1671 (see also Poussinist). The dispute raged for many years before the Rubenists emerged victorious. The aim of painting, they maintained, is to deceive the eye by creating an imitation of life or of nature and by manipulating colour.

The colourists pointed to the art of Peter Paul Rubens (Rubens, Peter Paul) (whence their name) as one in which nature and not the imitation of Classical art predominated. To popularize the point of view of the colourist party, the critic Roger de Piles published a series of theoretical pamphlets setting forth the arguments and counterarguments. In 1673 his Dialogue sur le coloris (“Dialogue on Colour”) appeared, and in 1677 he followed it with Conversations sur la peinture (“Conversations on Painting”). The victory for the colourists was signaled in 1699 when de Piles was elected to the Academy (as an amateur), and the triumph became complete in 1717 with the submission and subsequent acceptance of Antoine Watteau's “L'Embarquement pour l'île de Cythère” (1717; Louvre) for his membership in the Academy.