A Revolution in Painting:
Barbizon to Impressionism
Eugène Antoine Samuel Lavieille Le trou aux moines - Prairie de Morêt-sur-Loing (detail) - see pages 74-75 THIS PAGE : Henri Saintin Bergère et son troupeau à l’orée de la forêt (detail), 1873 - see pages 66-67 FRONT COVER:
A Revolution in Painting:
Barbizon to Impressionism
FRANKLIN BOWLES GALLERIES S a n F r a n c i s c o / N e w Yo r k
I hope with all my heart that there will be painting in heaven. – Jean Baptiste Camille Corot
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Plates with Commentary by Jean Audigier, Ph.D
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“Willem Bodeman, a Dutch painter from the beginning of the 19th century, studied under Barend Cornelius Koeckkoek, a superb teacher who hailed from a long line of master landscape painters. Bodeman exhibited in London at the Royal Academy and at the British Institute. Many of his paintings were also engraved by H. J. Verbockhoven, which is significant as he was an engraver primarily of famous paintings. So Bodeman clearly enjoyed success in his own time. This is a charming landscape; the artist has deliberately chosen a vista that seems fantastical with the castle ruins and the valley winding away through the mountains. The result is a poetical mix of the mundane activities of country peasants and the awe of royalty and nature itself.”
Willem Bodeman Paysage animé au donjon en ruine Oil on panel 13 x 13.4 in.
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“The ironic thing about the works of Hippolyte Gide is that we do not know anything about this artist except the fact that his father was a very good watercolorist. Apparently he taught his son well. Watercolor is a very demanding medium because you cannot, unlike oil painting, make corrections and must do it right the first time. This requires great technical execution. In addition, Gide, especially in these three pieces, brings a tremendous understanding of the elements of composition, creating a rhythmic movement that leads your eye throughout the painting. He creates a path for your eye to follow so you can explore the entire piece and all of its richness. He reminds me of Paul Cezanne in his ability to create elements of structure which give strength and permanence to the paintings.�
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Beauty in art is truth based on the impression we have received observing nature. – Camille Corot
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the paintings submitted that year to the first Salon de la Rose-Croix. His celebrated picture of the Burial of Vincent Van Gogh dates from 1893, when he organized the first posthumous retrospective of Van Gogh’s work. After this, he left France for Italy and Egypt, where he remained for the next 10 years. Overwhelmed by the masterpieces of the Italian Renaissance and Venetian School, Bernard abandoned his earlier artistic experiments, prompting Cezanne to observe that ‘he has completely turned his back on the ideas set out in his writings’. Bernard himself gave a different assessment of his evolution towards a more classically inspired, deeply religious art: ‘In the first part of my life, I surrendered myself to colour; I believed its radiance was all. I was a sensual mystic. Later, I understood that the appeal of colour lies not in its radiance, but in its sensitivity, and I reduced my palette to just two colors, preferring to work in variations of tone: no more complementary colors, but rather the juxtaposition of hot and cold tonalities, which comprise all colors within themselves. Finally, in my third period, I have allowed myself to be guided as far as possible by form; noble, grave, austere tones have become my ideal, like organ music in place of the violin (my first period).’ In 1908, he pinned the following declaration of faith to his front door: ‘Enter not here all ye who do not believe in God, Raphael and Titian.’ Bernard’s artistic output embraced painting, printmaking, tapestry and wood-carving, including decorative features on furniture of his own design. He also produced illustrations for Cantilenes by Moreas (1892), L’Ymangier by Remy de Gourmont (1895-1896), Les Fleurs du Mal (The Flowers of Evil) by Baudelaire, Homer’s Odyssey, Ronsard’s Les Amours and Villon’s Poesies. In addition to his extensive correspondence with Van Gogh, Gauguin and Redon, he wrote poetry and criticism, published in the highly doctrinaire review La Rénovation esthétique, which he edited from 1905 to 1910. Bernard was indeed something of a Renaissance man, a catalyst in the evolution of modern art who produced his key works early in his career and subsequently left it to others to put his theories into practice. His work can be found in the following collections: Musée d’Orsay, Paris; Art Institute, Chicago; Museum of Modern Art, New York; Van Gogh Museum, Amsterdam; Ny Carlsberg Glyptotek, Copenhagen; Musée d’Art Moderne de la Ville de Paris, Paris; Musée des Beaux-arts, Quimper; and in museums in Algiers and Lille.
Besnus, Amédée
Bonheur, Marie Rosalie (called Rosa)
French, 1822 – 1899
Rosa Bonheur’s first teacher was her father; she later became a pupil of Léon Cogniet. At a young age she showed an extraordinary talent for drawing people and animals, outlining them with great skill. She also showed an independence of mind and strong will from an early age; she ran away from school and then from a workshop where she was apprenticed declaring that she wanted to be an artist. She overcame her father’s opposition to the idea and persevered. She made her first studies in the Bois de Boulogne, which was still fairly wild in her youth. At this time, the French philosopher Félicité Robert de Lamennais (1782-1854) and the author George Sand, both had a decisive influence on freeing her from prejudicial thinking. She wore men’s clothes to visit local slaughterhouses and fairs and mingled with horse-dealers and cattle men. She first exhibited at the Salon of 1841 with two animal paintings. At the next exhibition, alongside her paintings, she exhibited a terracotta sculpture of sheep and in 1843 in addition to paintings, she sent a plaster sculpture of a bull. In 1843 she won a third-class medal. She won a first-class medal in 1848 with Ploughing in the Nivers and it was clear that her talent was fully mature. At the Salon of 1853 she exhibited Horse Market which, popularized byh an engraving, placed her among the foremost painters of her time. She was made a Chevalier of the Légion d’Honneur in 1865 and an Officer in 1894. She was also a Commander of the Order of Catholic Isabella and the Order of Léopold of Belgium. She was a great friend and protégée of Queen Victoria and this made her works much sought after by the British aristocracy. Bonheur was a serious artist who devoted the whole of her life to her work. At the end of her brilliant success she changed her palette entirely to give her works the powerful coloration of the Impressionists. In 1997 the Musée des Beaux-Arts, Bordeaux gave a retrospective exhibition of her works which traveled to the Dahesh Museum in New York in 1998. In 2001 some of her sculptures were included in the exhibition held at the Musée des Arts Decoratifs, Bordeaux (Around Barye and Pompon – Animal Sculptures of the 19th and 20th Centuries).
Besnus was a pupil of Léon Cogniet and showed at the Paris salon from 1859 to 1890. In 1898 he published a memoir, Mes relations d’artistes (My Relationships with Artists), in which he demonstrated his talent as an etcher. He was a friend of many artists of the Barbizon School, especially Jules Dupré, and painted landscapes around Paris, Brittany, Italy, and the English countryside. His pictures were freely drawn and have a feeling for wide-open spaces.
Her works can be found in the following collections: Musée des Beaux-Arts, Bourdeaux; Museum of Brighton, Brighton, England; Albright-Knox, Buffalo, New York; Musée Condé, Chantilly, France; Wallace Collection, London, England; National Gallery, London, England; Bilbao Fine Arts Museum, Bilbao, Spain; Art Gallery of Ontario, Toronto, Canada; Metropolitan Museum of Art, New York, New York; Art Institute, Chicago; Detroit Institute of Arts, Michigan; Albright-Knox Art Gallery, Buffalo, New York; Louvre, Paris; Musée d’Orsay, Paris; as well as museums in the following French cities: Boulogne, Grenoble, Langres, Lille, and Rouen.
His work can be found in museums in Grenoble, Switzerland; Sens and Rouen in France; and the Victoria and Albert Museum, London, England.
de Brunel de Neuville, Alfred Arthur
Bodeman, Willem
French, 1852 – 1941
French, 1831-1909
Dutch, 1806 – 1880
Willem Bodeman was the puple of B.-C. Koekkoek. In 1847 he exhibited at the Royal Academy and the British Institute, in London. His paintings have been engraved by H.J. Verbockhoven.
Alfred Arthur de Brunel de Neuville painted still lifes of flowers, fruits and vegetables, but owed his success to his numerous paintings of cats. He regularly exhibited at the Salon des Artistes Français in Paris from 1879, becoming a member in 1907. His work can be found in the museums of Béziers, Château-Thierry, and Louviers, France.
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Chaigneau, Jean Ferdinand
French 1830 - 1906
Jean-Ferdinand Chaigneau was born in the shipping center of Bordeaux on March 6th, 1830. There he studied drawing under the academic painter Jean-Paul Alaux (17881858). In 1847, he moved to Paris to continue his studies with his uncle, a marine painter. He exhibited at the Salon de Paris as early as 1848. In 1849, Chaigneau entered the prestigious Ecole des Beaux-Arts. There he studied under Francois Edouard Picot, Jules Coignet, and Jacques Brascassat. It was his studies with Brascassat that fueled his desire to paint landscapes and animals. He received third prize in the Concours de Rome competition of 1854. In 1858 he moved to the village of Barbizon where he came in contact with Jean Francois Millet (1814- 1875), Theodore Rousseau (1812- 1867), Jean-Baptiste-Camille Corot (1796- 1875), Jules Dupré (1811-1889), Charles-Francois Daubigny (1817- 1878), Charles-Emile Jacque, and other artists then living and working in Barbizon. This group comprised the Barbizon School of landscape art which became a viable alternative to the Academy. Chaigneau's work, as the others, was rooted in nature. His landscape subjects included scenes from Bordelais, Landes, Limousin and Normandy in addition to scenes from the forest of Fontainebleau, south of Paris. His shepherding and harvesting subjects have strong echoes of Jean François Millet, Théodore Rousseau and Charles Jacque, his closest colleagues among the older generation of Barbizon artists. From 1865 to 1881, he exhibited frequently in London, and was awarded a bronze medal at the Exposition Universelle in 1889. His work can be found at the following museums: Musée de Picardie, Amiens, France; Musée de Beaux-Arts, Bordeaux, France; Musée municipal de l’Ecole de Barbizon, Barbizon, France; Musée de Beaux-Arts, Rennes; Musée d’Orsay, Paris; Metropolitan Museum of Art, New York; Art Institute of Chicago, Illinois; and at the Victoria and Albert Museum, London UK.
Ciceri, Eugène
French, 1813 – 1890
Eugène Ciceri was the nephew of the landscape painter Eugène Isabey, and the son and pupil of the celebrated decorative painter Pierre Luc Charles Ciceri (the organizer of official ceremonies following the Restoration of Louis XVIII). Ciceri first showed at the Paris Salon in 1851 and was awarded a third-class medal the following year. He established himself as a decorative painter in his own right, executing theatrical scenery as well as numerous works for the auditorium at Le Mans. He painted frequently at Barbizon and on the nearby banks of the Seine, the Marne and Loing, as well as in Normandy, North Africa, Switzerland and Germany. His dense, lush landscapes and vast skies are reminiscent of Eugène Isabey’s. His works can be found in the following collections: Musée des Beaux-Arts, Chartres; Musée des Beaux-Arts Le Havre; museums in Limoges, Mulhouse, Perpignan, and Troyes, France; and Montreal, Canada.
Clary, Eugène
French, 1856 – 1926
Clary studied under the Belgian artist César de Cook, who was friends with Jean Baptiste Corot, Théodore Roussearu, Narcisse Diaz de la Peña, and Constant Troyon, and himself studied with Charles Daubigny and François Louis Français. Clearly, Clary had the best of teachers and he showed early talent; he began exhibiting his work regularly at the Salon des Artistes Français at the age of 12; he went on to receive a gold medal there in 1890. Although born in Paris, Clary spent much of his life in Les Andelys, near Giverny in northern France. The area “seduced” him and he settled there permanently in 1897 when he bought a large manor on the square of Saint-Sauveur. During this period he was exhibiting his work regularly in London and between trips to London, he often held sumptuous receptions at this manor which were attended by English artists. Unfortunately, his personal fortune did was not sufficient to support his lifestyle and he was forced to sell the manor and move with family to a smaller home near the Square. Clary’s landscapes are delicate and well constructed; he had a very refined touch. One of his favorite subjects was the reflection of trees in river water and he achieved great success with these images. He was interested in large panoramas and scenes along the Seine; he loved effects that were fluid and transparent. Examples of his work featured in the exhibition Autor de l’Impressionnisme: dix-neuf pieintres de l’école normande (Around Impressionism: Nineteen Painters from the School of Normandy) held in 2003 at the Maison des Arts in Antony. He started to lose his sight in 1920 and died in 1926. Les Anelys is one of the most beautiful places in the Seine valley and is famous for the fortified castle which overlooks the river. Writers such as Gustave Flaubert, Arthur Conan Doyle and the poet Paul Fort came for inspiration. And Clary was not the only painter to be seduced by the scenery. Other painters including Charles Daubigny, Claude Monet, and later Paul Signac painted in Les Andelys; these artists span the artistic movements of the time – from the school of Barbizon to Impressionism to Pointilism and modern art. Clary made his own exhibition debut at the Paris Salon in 1878 and went on to show his work at the Salon de la Société Nationale des Beaux-Arts in addition to the Salon des Artistes Français. He was awarded an honorable mention in 1883 and 1890 and a bronze medal at the 1900 Exposition Universelle. He aligned himself with the dissidents who founded the Salon De la Société Nationale and became an associate member of that institution in 1895 and a full member in 1920. His work can be found the following collections: Musée des Beaux-Arts; and museums in Lisieux and Eure, France
Coignet, Jules Louis Phillippe
French, 1798-1860
Coignet was a pupil of Victor Bertin, from whom he learned a sense of classical order. However, Coignet added to his landscapes a transcription of reality and is important in French art as his work marks the transition between the classical and naturalist landscape. He traveled extensively in Switzerland, Germany and Italy. In 1820, he published Picturesque Views of Italy Drawn From Nature. His landscapes of Europe, Egypt and Syria, and Greece are romantic in tone and very ordered in their composition. He debuted at the Salon in 1824 and showed art there until 1854. To aid his numerous followers, in
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1831 he published Principles and Studies of Landscape Drawn from Nature. He had a great impact as a teacher and his studio attracted numerous students interested in his naturalistic approach to landscape; Gustave Courbet was one of his students. In 1848 published Complete Course on Landscape. In 2001, he was represented at the exhibition “An Enchanted Country, Italy; Depicted by Artists from Thomas Jones to Corot” at the International Center for Art and Culture at the Palazzo Tè in Mantua, Italy.
French, 1807 – 1876
A landscape painter in the tradition of the Barbizon artists, Hippolyte Delpy had the opportunity to study under two of the most well-respected landscape painters of the nineteenth century, Camille Corot and Charles François Daubigny. Daubigny was actually a family friend, who recognized Delpy’s precocious talent and took him on as a student— an exceptional act for this artist, who rarely if ever trained other students. In 1863, it was Daubigny that introduced Delpy to Corot. In the years that followed, Delpy developed an itinerant pattern, dividing his time between his two masters. The first part of the year was spent in Ville d’Avray with Corot; he then moved on to Auvres with Daubigny where the two of them traveled along the river in Daubigny’s small boat which served as a home and studio for several weeks at a time. Those years working under both Corot and Daubigny were seminal in establishing Delpy’s individual style. One critic of the time wrote that “Mr. Delpy has revealed himself as a young landscape painter combining Corot’s poetical style with Daubigny’s more naturalistic style in a way that does not exclude his own personality.” Delpy uniquely brought color to his work in a way unlike the Barbizon School painters had in the past. After meeting Paul Cezanne and Camille Pisarro at Auvers, Delpy brought a more vigorous touch and greater intensity of color to his work while remaining faithful to the technique Daubigny had taught him. Delpy realized the important role of color in landscapes and used it to achieve a brighter “truth” in his paintings. His 1869 debut began a career at the Salon marked by many honors and awards that would last over 40 years. A friend and art connoisseur wrote in Delpy’s obituary how he had wanted to be remembered; “He asked that his art—of which Corot and Daubigny had been his godfathers—provide comforting joy.”
Born to Spanish political refugees in Bordeaux, France, Narcisse Diaz de la Peña found himself orphaned and penniless at ten years old. While still a child, he lost his leg from a viper bite and he gained local recognition for both his wooden leg and his exceptional skill as a painter. He taught himself composition and color by studying the great works in the Louvre, and then when he felt he was ready, he moved outdoors to paint nature at large. In 1836, he met Théodore Rousseau and the two became friends, neighbors, and fellow artists in the village of Barbizon. Rousseau had a strong influence on Diaz, even giving him lessons on how to paint trees. Diaz went regularly to the forest of Fontainebleau to paint; he composed minutely detailed studies reminiscent of Dutch painting on the spot, and then used these studies to compose finished pictures in the studio. A friend who witnessed him at work recalled, “I saw Diaz paint in the forest magical effects that are surprising, true, sun-drenched. The trunks and leaves of beech trees sufficed for the most brilliant poems suffused with the rays of the most enchanting fairyland." Although he is considered a leading member of the Barbizon School, Diaz never confined himself to landscape painting. He followed his own instinct—sometimes creating Orientalist compositions and figurative works in his studio, sometimes painting nature en plein air. Although Diaz never settled permanently in Barbizon, like Jean François Millet or Charles Jacque, he spent most summers there and visited often throughout the year. He also painted at Etretat (in the late 1850s), Le Havre and Honfleur, and much later, near the end of his life, in the south of France. These sites became standard for other landscapists, and the Impressionists learned a great deal from where Diaz and his friends worked. His first Salon success was in 1844 when he exhibited four paintings (only one was a pure landscape) and won a third-class medal. The noted critic, Théophile Thoré, praised Diaz’s work for his use of light and found him to be an important colorist. By 1845, Diaz had active followers and was creating works for private patrons; some wellknown aristocrats asked him to paint their portraits. His second Salon medal, a secondclass award, was received in 1846. Diaz remained popular throughout his career. Because of his financial success Diaz was able to help friends in need and Troyon, Rousseau and Millet all benefited from his generosity. In 1851, he established a studio in Paris where he entertained and lived prosperously with his wife and sons. Diaz reached the height of his fame in 1855 and was regarded as a master landscapist who fully understood and used the lure of the forest of Fontainebleau. His work continued to appreciate in skill and value into his last years. In 1863, Diaz met Claude Monet, Auguste Renoir, Alfred Sisley and Frédéric Bazille, who admired his brilliant colors; his late landscapes very likely influenced the Impressionists.
His works are featured in the Musée des Beaux-Arts, Chambéry, France; Musée Carnavalet, Paris; Musée de Louviers, Louviers, France; Beziers Museum, France; Phoenix Art Museum, Phoenix; Winnipeg Art Gallery, Manitoba, Canada; and the Brigham Young University Fine Arts Collection, Utah.
His works are in the collections of the Musée du Louvre, Paris (16 paintings); Metropolitan Museum of Art, New York; Hermitage Museum, St. Petersburg, Russia (7); Musée d’Orsay, Paris (13); National Gallery, London; Wallace Collection, UK; Fine Arts Museums of San Francisco; and the Museum of Fine Arts, Boston.
His works can be seen in the Musée des Beaux-Arts, Musée des Beaux-Arts, Rennes; Musée de Compiègne; Musée de Strasbourg; Musée de Château-Thierry; Musée Rolin, Autun; Chambéry; Musée Magnin, Dijon; Musée des Augustins, Toulouse; Trainon, Versailles; Musée du Louvre; France; Trianon, Versailles; Fitzwilliam Museum at the University of Cambridge, UK; National Gallery of Art, Washington D.C. (2); The Museum of Fine Arts, Houston; The Metropolitan Museum of Art, New York; National Gallery, London, UK; and the Neue Pinakothek, Munich, Germany.
Delpy, Hippolyte Camille
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Diaz de la Peña, Narcisse Virgile
French, 1842 – 1910
Dupré, Léon Victor
French, 1816-1879
Léon Victor Dupré was taught by his older brother, the painter Jules Dupré. He also worked in his father’s porcelain factory, learning the exacting skills necessary in the painting of porcelain. These talents greatly increased his technique in rendering minute detail. His canvases are seldom very large and the human and animal figures are usually quite small in relation to the grand, luminous skies of which he was fond. Like his brother, he often painted river banks under stormy skies. He won a third-class medal in 1849. His best works include Village in the Berry, Banks of the Oise and Pool in the Landes. His works can be found in the Metropolitan Museum of Art in New York, the Fine Arts Museums of San Francisco, the Minneapolis Institute of Art, the Museum of Fine Arts in Boston and the Rijksmuseum in Amsterdam among others.
terms of technique, the opulent nudes that adorn a large number of his canvases recall those painted by William Adolphe Bouguereau and Alexandre Cabanel. His work can be found at museums in: Besançon, Lille, Paris, and Rouen, France.
Gide, Hippolyte Jean
French, 1852 – 1921
Almost nothing is really known about Hippolyte Gide except that he was one of the great masters of watercolor and he most likely was taught by his father François Théophile Etienne, who was also an accomplished painter.
Gilbert, Pierre Julien
French, 1783 – 1860
This umbrella term, meaning “French School,” refers to works of art characterized by a classical French academic style
Pierre Gilbert studied initially under Nicolas Marie Ozanne, then under Louis Philippe Crépin. He exhibited at the Paris Salon between 1822 and 1859, receiving a silver medal in 1833. He was appointed official painter to the Algerian Expedition of 1830 and subsequently taught painting and composition at the royal naval college. Pierre Gilbert was made a Chevalier of the Légion d’Honneur in 1833.
Enjolras, Delphin
His work can be found at museums in: Brest, France; Cherbourg, France; Nancy, France; Paris, France; St-Brieuc, France; Versailles, France.
Ecole Française
French, 19th Century
France, 1857 – 1945
Delphin Enjolras was a pupil of the watercolorist Gaston Gérard at the École des Dessins de la Ville de Paris. He also studied with Jean Léon Gérôme at the Ecole des Beaux-Arts in Paris. From 1901, he exhibited at the Salon des Artistes Français, of which he was a member. He was very prolific, especially in watercolors and pastels, and although he painted mainly landscapes early in his career, he later made a specialty of painting young women, often while dressing or at their daily tasks. The pastel medium was ideally suited for the intimate and charming works he produced. His work can be found at the Musée Calvet in Avignon, France; and the museum in Le Puy-en-Velay, France
Giacomotti, Felix Henri
Italian, 1828 – 1909
Originally from Italy, Felix Henri Giacomotti arrived in Paris when he was very young, and studied at the École des Beaux-Arts in the studio of François-Édouard Picot. He came second in the painting Grand Prix in 1851, and won the Prix de Rome in 1854. He travelled to Italy, where he mostly studied the Old Masters – notably Raphael and Leonardo da Vinci, whom he particularly admired. He exhibited at the Paris Salon from 1859 to 1909, and won medals in three consecutive years: 1864, 1865 and 1866. From 1881 onwards, he exhibited at the Salon of the Société des Artistes Français. He was appointed curator of the museum in Besançon, eastern France. He produced a variety of religious compositions for the churches in Paris: for the chapel of St. Joseph in the church of Notre-Dame-des-Champs; and a painting of Christ with the Lictors for the church of St-Étienne-du-Mont, among others, Giacomotti also painted historical and genre scenes, but had a particular preference for portraits. His works include Portrait of Jules David; Portrait of Edmont About; Agrippina at the Camp of Ahaseurus; and Capture. The Glory of Rubens was commissioned by the French state for the ceiling of the Musée du Luxembourg in Paris; it is now in the town hall in Bourges, central France. In
Gorter, Arnold Marc
Dutch, 1866 – 1933
Arnold Marc Gorter attended the Rijksakademie van Beeldende Kunsten (the National Academy) in Amsterdam. He received an honorable mention in 1904, a second place award in 1915, and a medal in Munich in 1905. He worked in Amsterdam, Almelo (where he was born) and in Norway. He painted in the style of the Barbizon school painters, although it does not appear he ever travelled to France. He became famous for his paintings of vast landscapes; he died in Amsterdam in 1933. His work can be found in museums in Amsterdam, the Netherlands.
Gudin, Jean-Antoine Théodore
French, 1802 – 1880
Théodore Gudin, as he is usually known, studied at the École des Beaux-Arts under Girodet-Trioson. He was subsequently influenced by the Romantic School and exhibited at the London Royal Academy. He was awarded medals in 1824, 1848 and 1855 and the Légion d’Honneur in 1828, becoming an Officer of the Légion in 1841 and Commander in 1855. He specialized in painting seascapes. Gudin executed many paintings for the king’s household and worked for the Duke of Orleans and many other notables in France and elsewhere. His work can be found at the Louvre and the Musée d’Orsay in Paris, the Wallace Collection in London, as well as museums in: Amsterdam, Netherlands; Berlin, Germany; Brussels, Belgium; Helsinki, Finland; Kaliningrad, Russia; Leipzig, Germany; Moscow, Russia; Stuttgart, Germany; The Hague, Netherlands; Wroclaw, Poland and Avignon, Bagnères-de-Bigorre, Bayonne, Blois, Bordeaux, Bourges, Brest, Caen, Chambéry, Chantilly, Clamecy, Dijon, Morez, Nantes, La Fère, Le Mans, Paris, Perignan, Troyes, and Versailles, all in France.
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Heda, Willem Claesz
Dutch, 1594 – 1680/2
Willem was the brother of Cornelis Claesz. Heda. He occupied an important place among the painters of Haarlem. His pupils were Maerten Boelema of Louvain, Arnoldus Beerensteyn, Hendrik Herschoop of Haarlem and his son Gerrit Willemsz. Heda. Arnold de Bray painted his portrait in 1678. Heda was ignored for a long time by art-lovers: while painters of the same school such as David de Heem, Jan Fyt or Kalf, attracted high prices at public auctions, the paintings signed by Willem Heda were left unbought. Today, however, his merit as a painter is recognized and appreciated. His works are included in the big museums and the most famous private collections. Heda specialized in still-life, however, it has also been claimed that he treated historical subjects. The exceptional precision of his execution never suffered from the technical dryness or preciosity of lesser painting. His paint was firm without being heavy; it was lively, witout being trivial, despite the astonishing rendering of nature. His color was sober, intentionally remaining within a similar range of tones, yet with a brilliant quality of light. The composition of his rich still-lifes, the sobriety of his use of color, the smooth richness of his paint, all of these contribute to Heda being one of those 17th century Dutch painters whose art most calls to mind that of Chardin. It is quite possible that Chardin saw Heda’s work. He would have recognized the qualities that distinguished Heda from many contemporary artists who sought to depict arbitrary picturesque groups of individuals rather than evoke a human environment. Rubens possessed two of his paintings. In short, he was a magnificent painter, whose standing was finally recognized in the 19th century. In that century, too, copies were made of his collections of dishes of various metals, glassware and baskets of citrus or velvety fruits, from amongst which would stand out the splash of red of a lobster, of particular grouping of books, of the shiny wing-cases of an insect, or bouquets of flowers on whose leaves glisten precisely painted drops of dew. His work can be found at museums in: Antwerp, Belgium; Berlin, Germany; Besançon, France; Budapest, Hungary; Châteauroux, France; Cologne, Germany; Darmstadt, Germany; Douai, France; Dublin, Ireland; Frankfurt, Germany; Hamburg, Germany; Leipzsig, Germany; London, United Kingdom; Mainz, Germany; Munich, Germany; Oslo, Norway; Madrid, Spain; Paris, France; St. Étienne, France; Stockholm, Sweden; The Hague, Netherlands; Toledo, Ohio, United States
Holstayn, Josef
German, 1930 – unknown
Little is known about the German painter Josef Holstayn. He painted primarily still lifes, particulary flowers.
Hostein, Edouard Jean Marie
French, 1804-1889
Edouard Hostein was a bank employee who also worked as an illustrator in Paris between 1827 and 1833. He was a self-taught artist. His work was regularly featured at the Paris Salon from 1833 to 1859 and he won several medals: a third-class in 1835, a secondclass in 1837, and a first-class in 1841. He was honored with the title of Chevalier of the Légion d’Honneur in 1846. Hostein was an indefatigable traveler and a prolific artist, who produced many paintings and lithographs of views of the various regions of France. He also worked on several publications including France in Ancient Times by Baron Taylor;
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Stony Arabia by M. Delaborde; and Tour of the World and Journey to Simplon by Dumont d’Urville. He traveled throughout Europe and also exhibited at provincial Salons outside Paris. His style indicates a strong respect for nature; he favored painting what he saw, in distinct preference to simplification, synthesis or stylization. Several of his drawings were shown at the Musée de Toulon in 1971. His work can be found in the following collections: Musée d’Aurillac, Musée d’Avranches, Musée de Blois, Musée Calvet, Musée de Château-Thierry, Musée des Beaux-Arts, Lyons; and Musée de Saint-Brieuc, as well as museums in the following cities: Amiens, Avignon, Dieppe, Lyons, Toulon, and Versailles, all in France.
Kauffman, Angelika
Swiss/Austrian, 1741 – 1807
Angelika was born in Switzerland, but grew up in Austria. She was a precocious child and was taught painting by her father, a skilled artist. There is a story that Kauffman’s father had boy’s clothing made for her so that she could attend courses at the Austrian Academy of art. In 1754, she went to Milan with her family and set up as a painter of portraits. She stood out with her beauty, grace and talent. She spoke German, French, Italian and English; she also sang, and played several musical instruments. The young English painter Nathaniel Dance, fell in love with her. For nine years he followed her from city to city, attempting in vain to persuade her to marry him. In 1757, after the death of her mother, Angelica and her father set off for Florence. In 1759, they went to Rome, and afterwards to Venice in 1764, with Angelica’s reputation growing all the time. The wife of the English ambassador, Lady Wentworth, carried her off to London and presented her at court. In 1768, when the Royal Academy was founded, Angelica was listed as one of the founding members. Sir Joshua Reynolds, another co-founder of the Royal Academy, had a great partiality for her, and painted her portrait three times. A sad episode marred this brilliant career when a young stranger claiming to be Count Frederick Horn of Sweden paid court to her and Angelica agreed to marry him in secret. After the ceremony, she discovered to her mortification that she had fallen victim to a fraudster, and her husband was just a servant to the count. After suffering ill treatment at the hands of the impostor, she managed to get rid of him at the cost of 7,500 francs. In 1781, after the death of this first husband, she contracted a happier marriage with a Venetian painter, Antononio Zucchi, and shortly after left London for Italy. In 1782 her father, who had continued to live with her, died and she and Zucchi moved to Rome. Zucchi died in 1785 and Angelica remained in Rome until her death. Kauffman had a second reason for returning to Italy in 1781. History painting was her strength and it was the most elite and lucrative category of academic painting in Europe during the 18th century. But, although the Royal Academy in London made a strong effort to promote history painting, the British were more interested in commissioning and buying portraits and landscapes. In addition to painting, Kauffman also engraved about 50 prints in a vigorous style. A great many of her works were reproduced as engravings. An exhibition of her works was organized by the Haus der Kunst in Munich in 1999.
works are usually small in size and have a style similar to that of Louis Léopold Boilly. He painted some religious pictures including that of Saint Barbara, painted in Rennes in 1868. Lanfant also painted scenes of Paris and its artisans at work. These subjects were so popular that he was often encouraged to paint them in pairs in order to complement the décor of a room. In the later years of his career, he began producing colored lithographs of his own work. His work can be found at the Musée des Beaux-arts in Rheims.
Lavieille, Eugène Antoine Samuel
French, 1820-1889
Eugène Antoine Samuel Lavieille was the younger brother of Jacques Adrien Lavieille and studied under Camille Corot and Justin Lequien. After living in Barbizon, he moved to La Ferté-Milon and then to Montmartre. Lavieille and his close friend Antoine Chintreuil were among Corot’s finest pupils. He is said to have preferred painting nature in a spirit of mourning and sadness; however, this is not representative of many of his paintings. He is best known for having sought, like Charles François Daubigny, to convey the mysterious charm of evening, often with great success. Lavieille was a three-time medal winner in the Paris Salon: in 1849, 1864, and 1870. He exhibited in the first Salon des Refusés in 1863 and was elected Chevalier de la Légion d’Honneur in 1878. His works are in the collections of the Musée du Louvre, Paris; Musée des Beaux-Arts, Lille; Musée Magnin, Dijon; Musée des Beaux-Arts, Troyes; Musée des Beaux-Arts, Rouen; Musée des Beaux-Arts, Marseille; Musée Condé, Chantilly; and the Musée Ingres, Montauban. In addition, his works can be found in museums in the following French cities: Alençon, Barbizon, Le Mans, Lille, Marseilles, Montpellier, Moulins, Nantes, Narbonne, Rouen and Tourcoing.
Leroux, Constantin
French, 1850 – 1909
Little is known about the background of the artist Constantin Leroux. He painted landscape and genre paintings.
Loubon, Emile Charles Joseph
French, 1809 – 1863
Loubon was a student of Jean Antoine Constantin, the director of the school of drawing in Aix-en-Provence, and later of François Marie Granet; the latter took him to Rome in 1829. In 1831 he went to Paris, where he associated regularly with the painters of the Barbizon School, including Narcisse Diaz de la Peña and Théodore Rousseau. Their influence encouraged him to turn to landscape painting. He travelled in Italy, Algeria and Egypt, gathering images and themes for landscapes as he went. He was director of the Ecole des Beaux-Arts in Marseilles from 1845 to 1863. He exhibited at the Paris Salon between 1833 and 1863. He won a third-class medal in 1842 and was made a Chevalier of the Légion d’Honneur in 1855. Having settled into southern France, he concentrated on portraying provençal landscapes and his style and colors were well-suited to the territory. His sketches were widely admired and collected; he also engraved etchings. In 2001, his work appeared the collective exhibition: Le Femme en Provence et en Mediterranee (Women in Provence and the Mediterranean), at the Château de Borely, Marseilles.
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His work can be found in museums in: Aix-en-Provence, Chalon-sur-Saône, Le Puy-enVelay, Marseilles, Perpignan, Rouen –all in France; as well as in the Musée des BeauxArts, Chambéry, and the French Ministry of the Interior.
Luce, Maximilien
French, 1858-1941
Maximilien Luce, the agnostic, anarchist painter (whose name means ‘light’ in Italian), was a fascinating member of the impressionist and neo-impressionist movements. His masterful grasp of tone, color, and composition make his works especially desirable and important to the movements of his time. However, it is his apparent independence from both the impressionist and neo-impressionist movements that truly makes him intriguing. Luce was born in Paris, 1858, to a poor family and brought in the working-class surroundings of Montparnasse. He began an apprenticeship with the wood engraver Henri Théophile Hildibrand in 1872, and simultaneously studied drawing at night school. In 1876, having qualified as an engraver, he joined a workshop where illustrations were engraved for many French magazines and some foreign periodicals. He went to London in 1877, where he sold some drawings to the magazine Graphic. When he returned to France, he was called for military service in 1879, first in Brittany, and later in Paris, where he was able to pursue his career as an engraver. During his time in the army, he studied under Carolus Duran, probably at the Académie Suisse, where Courbet and Cezanne studied, and worked at the École de Dessin in Les Gobelins. He was mostly self-taught from his observation of nature, and also received guidance from his friend Camille Pissarro. In 1887 he joined the Société des Artistes Indépendants and took part in their exhibitions, which were considered avant-garde at the time. He also exhibited with the Groupe de Vingt in Brussels in 1889 and 1892. During his youth, the events of the Paris Commune had made a significant impression on him and he later worked on anarchist publications such as Le Père Peinard, founded in 1889, whose cover he designed. He also worked on Les Hommes d’aujourd hui, L’Illustration, La Révolte and Les Temps Nouveaux. In 1894 he was indicted in the Trial of the Thirty for being a subversive anarchist and he served a prison sentence as a result. These events inspired a collection of lithographs entitled Mazas. Upon his release, he took refuge in Charleroi in Belgium, but returned to France, settling in Rolleboise, near the Seine river, in 1920. He became president of the Société des Artistes Indépendants, as successor to his friend Paul Signac after that artist’s death in 1935. He renounced his presidency, however, at the beginning of the German occupation as a protest against Jewish artists being forbidden to exhibit. He corresponded with many other painters, including Charles Angrand, Georges Seurat, Théo Van Rysselberghe and his friend Louis Valat. With Seurat and Signac, he was one of the founders of the Neo-Impressionist school, which was based on the scientific study of light and the analysis of the decomposition of colors. As such, he used the technique known as Divisionism or Pointillism, employing individual points of color to interpret the complexity of the composition of colors, while preserving their vibrancy and defining the light and shadow of elements in the picture. The technique involved applying tiny dots or short, quick dashes of pure juxtaposed colors to the canvas without blending. This allows the creation of secondary colors to occur through the optical blending that takes place when a viewer looks at a painting. During his stay in Belgium he
played a part in establishing Neo-Impressionist technique outside of France. For many years, Luce was a strict Pointillist, but he then adopted a more relaxed, more fluid approach, which can be seen in his landscapes of Rolleboise, departing from the rigor of Neo-Impressionism and returning to a late-Impressionist style. The majority of Luce’s works are landscapes, and primarily of France. He painted a smaller number of urban landscapes, often of working class districts, and often painted at night, providing a snapshot of the world of work at that time. His figures set him apart from his Neo-Impressionist contemporaries, as he genuinely wanted to share the cares and troubles of the people, and showed this in the attitudes of the road workers, the dockers and the builders going about their daily travails. It was only when Luce returned to impressionism from the divisionist movement that his talent and voice fully matured. Just as he was an independent thinker in the realms of politics and religion, so too was he independent in his artistic language. Luce’s mature style is a true blending of theories. The rigid guidelines and painstaking process of divisionism were too confining and slow moving for him. However, the divisionist rules of structure, harmony, and strong composition paired with his graphic skills helped to define and better communicate the unruly freedom of Impressionism that he originally rejected. Ironically, it was his 15-year involvement with neo-impressionism that ultimately made him a better impressionist. In a sense, Luce’s artistic language is an entity unto itself, devised by a man who valued nothing more than independent thought, freedom, humanity, and the beauty and vitality of life and love. Those values are what shine through in his paintings, creating an independent spirit and freedom from frivolity, pretentiousness, and social constraint. Harmony was Luce’s goal in all aspects of his life—as a political activist he sought a more harmonious social order; as a neo-impressionist he strove for a theory of color harmonies; and later as a mature painter he saw each canvas as an opportunity to achieve total harmony in mood, color, and composition. He died in Paris in 1941. As art historian Robert Bernier wrote, “Maximilien Luce is one of those who will contribute to ending the misunderstanding between artists and the people. He is one of those who will help us to reach complete harmony.” Luce’s work can be found in the following major public collections: Musée d’Orsay, Paris; Musée du Petit Palais, Paris; Metropolitan Museum of Art, New York; National Gallery of Art, Washington, D.C.; The Fine Arts Museums of San Francisco; Museum of Fine Arts, Boston; Minneapolis Institute of Arts; Museum of Fine Arts, Dallas; and the Los Angeles County Museum of Art, California.
Maar, Dora
French, 1907-1997
Dora Maar spent her youth in Argentina with her father, an architect of Yugoslavian origin. On returning to France in 1925, she studied in Paris at the Union des Arts Décoratifs, at the Académie Julian and under André Lhote. However, perhaps because she was often used as a model by the great photographers of the time, Man Ray and Laure Albin-Guillot, she chose photography as her primary means of expression. She met Henri Cartier-
Bresson, worked with Emmanual Sougez and set up her own studio. She came into contact with the Surrealists, and in 1934, with Georges Bataille and André Breton, she took part in the Union des Intellectuels Contre le Fascism. As a photographer, she produced advertisements for Petrole Hahn and photographs of nudes; in 1931 she illustrated a book by Germain Bazin on the Mont St-Michel; she produced photographs of Barcelona in 1931 and of London in 1934. Her photographs demonstrates a social awareness: the retrospective exhibition held in 2002 in the Centre de la Vielle Charité in Marseilles underlined not only the Surrealist dimension of her photograph work, but also its realism, with her photographs of the excluded and those on the fringes of society, in cities such as Paris, London and Barcelona. In 1935, Paul Éluard introduced her to Picasso, during the first showing of Jean Renoir’s film, M. Lange’s Crime, the set of which she had photographed. She found him the studio at 7 Rue des Grands Augustins, next door to her own. She influenced his political thought and his decision to join the Communist Party in 1944, and was his companion until about 1945. She was also his model for affectionate portraits, for the terrible series of the Weeping Women in red and green, for the central figure of Geurnica, who holds out a lamp to light up the horror, and for the sculpture in the square of St-Germain-des-Prés that became the monument to Apollinaire. She took part in group exhibitions in 1934, at the Galrie de Beanue, Paris 1936; the Museum of Modern Art, New York, 1948; The Galerie Denise René, Paris 1987-1988, the Musée Contonal des Beaux-Arts, Lausanne, 1989, the Plazao Reale, in Milan 1989-1990, the Schirn Kunsthalle, Frankfurt. She has been the subject of thematic exhibitions relating to Picasso, including 1994, Picasso and the Weeping Women: The Years of Marie-Thérèse Walter and Dora Maar, a touring exhibition in the USA, at the Los Angeles County Museum of Art; 2002 Elles de Montparnasse (Women of Montparnasse) at the Musée du Montparnasse in Paris, an exhibition on the emancipation of female artists between the two wars. She showed her work in solo exhibitions, including: 1944 the Galerie Jeanne Bucher, in Paris; 1945, Galerie Vendôme, Paris: 1957 the Galerie Berggruen, Paris; 1958, the Leicester Galleries, London: 1990, the Galerie 1900-2000, Paris: 1995 in a retrospective at the Bancaixa Foundation, Barcelona. In 2002, the Centre de la Vielle Charite in Marseilles organized the first significant retrospective of her photographic work in France. Abandoning photography for painting, she was influenced by Picasso, of whom she painted two portraits in 1938. In her landscapes she painted from life, providing a simple construction through backgrounds and foregrounds, in which each element, a post, a tree or a house, corresponds with a different color, in the Cubist spirit. There is also a touch or poetic subjectivity, and at the end of her life she painted spontaneous landscapes, noman’s-lands, laden with color applied with a knife or trowel. Her work can be found at museums in Paris, France.
Meucci, Michelangelo
Italian, 1840 – 1900
Meucci was an Italian painter who specialized in paintings of animals, birds and still lives, including flowers, fruit, and game. He was also known for his trompe-l’oeil paintings. He lived and worked in Florence.
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Michel, Georges
French, 1763 – 1843
Georges Michel was a delicate artist who was born into a poor family; little is known about his life. He was married twice, first at the age of 16 to a girl the same age who died very young, and again in 1827. Under the patronage of several people, he was apprenticed in 1755 to the studio of a landscape painter called Leduc. He soon became disenchanted with the fantastic and mannered landscapes of the 18th century, and returned to the idea of nature as perceived by Salomon van Ruysdael and the great Dutch landscape artists, taking his inspiration entirely from nature. He exhibited at the Salon from 1796 to 1814, working hard but selling little. He did not actively seek success, and remained unknown and poor. He was supported by Baron d’Ivry, who kept Michel’s entire works by the devious subterfuge of passing the painter off as dead. Michel did not sign or date his paintings, arguing that the artists of antiquity did not sign theirs. Lazare Bruandet, before his death in 1804, taught Michel in the woods around Paris, in Boulogne and in Meudon, where he learned to depict the nostalgic character of these rural sites. He was the earliest of the Montmartre painters. His skies, while painted using the traditional methods that often played on the contrast of leaden clouds with areas of strong light, herald the skies of Eugène Boudin. He appears to have adhered to John Constable’s declaration that “nothing is ugly in nature.” To justify working almost entirely in the area around Paris, he declared that “anybody who is unable to spend his whole life painting within four areas is but a fool.” It is with good reason that he has been called the father of modern landscape. Scorning classical locations, he drew his subjects from the surroundings of Montmartre and the plain of St.-Denis. On several occasions he worked with Nicolas-Antoine Taunay, who painted figures in some of his landscapes. In 1812 he developed his later style, which was characterized by accentuation of contrasts. His liberation from earlier influences corresponded with the blossoming of his style from 1830 onwards. After 1843 his influence on several painters, especially Charles Emile Jacque and Jules Dupré, was of particular importance. Although he achieved little fame during his lifetime, Michel is now considered a major precursor to the Barbizon School painters. Michel’s work is in many museum collections including the following: Musée du Louvre, Paris (3 paintings, 80 drawings); Hermitage Museum, St. Petersburg, Russia; Museum of Fine Arts, Boston; Metropolitan Museum of Art, New York; Musée des Beaux-Arts, Lyon, France; Thyssen-Bornemisza Museum, Madrid, Spain.
Millet, François
His work can be found in museums in Darmstadt, Germany and Guéret, France.
Hungarian, 1896 – 1962
Laszlo Neogrady, was born in Budapest, Hungary in 1896. He was the son of the artist Anatal (Laszlo) Neogrady and he studied painting at the Hungarian Academy of Fine Arts under the artist Ede Ballo. Returning to Budapest, he became an art teacher, specializing in watercolor techniques.
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Petitjean, Edmond Marie
French, 1844-1925
Born in Les Vosges, France, Edmond Petitjean was a painter of seascapes and landscapes. He is best known for his boating harbor scenes and landscapes painted in an impressionistic style. His first exhibited works appeared at the Salon of 1874. In 1883 he became a member of the Salon of French Artists. There he received a first place medal in 1884. In the 1889 exposition Universelle he received a silver medal, and in 1900 he received a gold medal. In 1892 he was made a Chevalier of the Legion of Honor. He was eventually awarded the highest honor at the Exposition Universelle, the ‘Hors Concours’, meaning that he was no longer required to compete for placement in the exhibit. In addition to showing a large body of work in France, Petitjean also exhibited work in the early 1890s in Munich. Towards the end of his career he was especially interested in the Atlantic, and he painted many scenes of ocean ports. Petitjean greatly admired the work of Monet and his influence can be seen in Petitjean’s light quick brushstroke and sun-drenched palette. Petitjean was a respected Impressionist in his own right and his work influenced the generation of American painters who had come to Paris during the last years of the 19th century. He died in 1925 in Paris, where he had kept his studio almost all his life. His work can be seen in the following collections: Musée du Louvre, Paris; Musée d’Orsay, Paris; Musée des Beaux-Arts, Lille; Musée des Beaux-Arts, Dijon; Musée des BeauxArts, Bordeaux; Musée des Beaux-Arts, Marseille; Musée des Beaux-Arts, Chambéry; and the Musée du vieux château, Laval – all in France.
Pieler, Franz Xaver
Austrian,
1876 - 1952
Franz Xavier Pieler was a painter, primarily of still lives with flowers and fruit.
Plantey, Madeleine Almost nothing is known about Madeleine Plantey.
French, 1851 – 1917
François Millet was the son and student of the renowned artist, Jean-François Millet. He made his debut at the Salon in 1870.
Neogrady, Laszlo
Starting in 1922 Neogrady exhibited his work at the Hungarian Art Gallery. He specialized in painting naturalistic landscapes many of which depicted forest scenes in the snow. The artists extensive use of impasto creates an almost three dimensional effect in these works. His use of light is usually dramatic and his landscapes are very atmospheric. The artist died on 27th August, 1962 in Budapest.
Richard, Jules Gédéon
French, born 19th century
Jules Richard was born in Paris; he exhibited at the Salon des Indépendents in Paris from 1891 on. He primarily painted landscapes and flowers.
Rigolot, Albert Gabriel
French, 1862 – 1932
Albert Rigolot was born in Paris; his son, who used the name Yves Rouvre, was also a painter. Rigolot studied at the Parisian School located in the 16th district and then studied under Leon G. Pelouse and Auguste Allongé. He exhibited at the Salon des Artistes Français beginning in 1886. He became a member of the society in 1888 and received an honorable mention in 1889, a third-class medal in
1891 and a second-class medal in 1892. He won a silver medal in 1900 at the Exposition Universelle. He was made a member of the Société des Peintres Orientalistes Français and Chevalier of the Légion d’Honneur in 1901. Rigolot was appreciated for his landscapes of water, lakes and river banks, and for his views of Algeria. He shared many of the goals of the Barbizon painters, using a naturalistic approach to his subjects and concentrating on the effects of light as it shined through foliage or onto water. His work can be found in the following museums: Musée des Beaux-Arts, Nancy; Musée d’Art Moderne, Paris; and the Musée des Beaux-Arts, Rouen, as well in collections in Cambrai and Saint-Quentin, all in France.
Rosier, Amédée
French, 1831 – 1898
Amédée Rosier was born in Meaux, France. He studied with Léon Cogniet and Carolus Durand in Paris. He first exhibited at the Paris Salon in 1857 and received a third-class medal in 1876. He received a bronze medal at the Exposition Universelle in 1889. He lived in Italy, working in particular in Venice; he also spent time in northern Africa including Egypt. In addition, he painted in Holland, Constantinople, Bretagne, Saint-Pierre-etMiquelon, and in the Midi. His work can be found in the following collections: Musée des Arts et de l’Enfance, Fécamp, France; and in museums in Bernay, Compiêgne, Mulhouse, Niort, and St-Etienne, all in France.
Saintin, Louis Henri
French, 1845 - 1899
Henri Saintin was born in Paris and studied under Isidore-Alexandre-Augustin Pils, Alexandre Ségé, and Charles Edme Saint-Marcel. He was considered an excellent landscape painter, particularly of forests, river banks, and ponds. In 1873, he discovered Brittany and executed many paintings, particularly watercolors in the area. He also travelled to Venice and painted there. He made his Salon debut in 1867 and won a third-class medal in 1862. His work can be found in the Musée de Montpellier, the Musée de Rennes, and museums in Auxerre, Bayonne, Besançon, Tarbes, and Tourcoing, all in France.
Scalbert, Jules
French, 1851 - 1928
Jules Scalbert was a student of Isidor Pils and Henri Lehmann. He exhibited at the Salon de Paris from 1876. He also exhibited at the Salon des Artistes Français of which he became a member in 1883. He was awarded an honorable mention in 1889 and third-class medals in both 1891 and 1901.
Selmy, Eugène
French, 1874 - unknown
Eugène Selmy was a student of Léon Bonnat, Léon Glaize, and Albert Maignan. From 1900 he was a member of the Salon des Artistes Français in Paris and he exhibited there regularly. He received an honorable mention in 1900, a third-class medal and the Prix Marie Bashkirtseff in 1902, a travel bursary in 1904, and a second-class medal in 1906. He was made Chevalier of the Légion d’Honneur in 1919.
His work can be found in the The National Museum of Art of Romania in Bucharest.
Storelli, Ferdinand Michel
French, 1805-unknown
Storelli, who was born in Paris, was the son and pupil of Felix Marie Ferdinand and the father of André. He exhibited at the Salon from 1831 to 1877 and was awarded a third-class medal in 1839 and a second-class medal in 1840.
Tanzi, Léon Louis Antoine
French 1846-1913
Léon Tanzi studied under Benjamin Constant, William Adolphe Bouguereau and Jules Lefebvre. He painted primarily landscapes, particularly of Provence; he also painted some works of a symbolist nature. He exhibited at the Paris Salon from 1877 and later at the Salon des Artistes Français. He received numerous awards, including a commendation in 1886, a bronze medal in 1887, a silver medal at the Exposition Universelle of 1889 and another silver medal for the Exposition Universelle in 1900. He was made a Chevalier of the Légion d’Honneur in 1901. His work can be found in museums in Algiers, Algeria and Marseilles, France.
Vallée, Étienne Maxime
French, 1850 – unknown
Étienne Vallée studied under Auguste Péquégnot and exhibited at the Paris Salon from 1873 to 1881. He painted views of Paris and the countryside of Bretagne, Normandy, and the forest of Fontainebleau. His favorite subjects included wooded sites, seasides, and images of fishermen returning from work. His later work shows the influence of the Impressionists: the volumes are indicated in wide swathes of color and contours and mass are created solely by colored values. His work can be found at museums in: Chambéry and Dunkirk, France.
La Villéon, Emmanuel Victor Auguste Marie de French, 1858 – 1944 In 1880, Emmanuel de la Villéon went to Paris to study at the Académie Julian ander Roll and Damage. He lived in Brittany, Switzerland and Paris, where found the themes for his landscapes. In 1884, he started to paint from life, making the leap to Impressionism around 1890. He also illustrated legends and tales from Brittany. His work is characterized by its luminous shades. He made his debut at the Salon des Indépendants in 1888 and from 1890 exhibited at the Salon de la Société Nationale des Beaux-Arts, of which he was an associate member from 1908; he also showed at the Salon d’Automne from 1903.
Zimmerman, Robert Almost nothing is known about Robert Zimmerman.
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Index by Artist
Koekkoek, Jan Hermann Barend
Bernard, Emile
Lanfant de Metz, François Louis
Besnus, Amédée
Lavieille, Eugène Antoine Samuel
Bodeman, Willem
Leroux, Constantin
Bonheur, Marie Rosalie (called Rosa)
Loubon, Emile Charles Joseph
Brunel de Neuville, Alfred
Luce, Maximilien
Chaigneau, Jean Ferdinand
Maar, Dora
Ciceri, Eugène
Meucci, Michelangelo
Clary, Eugène
Michel, Georges (attributed to)
Coignet, Jules Louis Phillippe
Millet, François (son)
Delpy, Hippolyte Camille
Neogrady, Laszlo
Diaz de la Peña, Narcisse Virgile
Pieler, Franz Xaver
Dupré, Léon Victor
Plantey, Madeleine
Ecole Française
Petitjean, Edmond Marie
Enjolras, Delphin
Richard, Jules
Giacomotti, Felix Henri
Rigolot, Albert Gabriel
Gide, Hippolyte Jean
Rosier, Amédée
Gilbert, Pierre Julien
Saintin, Henri
Gorter, Arnold Marc
Scalbert, Jules
Gudin, Jean-Antoine Théodore
Selmy, Eugène
Heda, Willem Claesz (after)
Storelli, Ferdinand Michel
Holstayn, Josef
Tanzi, Léon Louis Antoine
Hostein, Edouard Jean Marie
Vallée, Étienne Maxime
Kauffmann, Angelika (after)
La Villéon, Emmanuel Victor Auguste Marie de
Koekkoek, Marinus Adrianus
Zimmerman, Robert
OPPOSITE:
Amédée Rosier Débarquement du poisson (detail), 1888 - see page 48
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ART PHOTOGRAPHY:
Jules Scalber Promenade en barque (detail) - see pages 84-85
Scott Saraceno
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