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Life and career
Jean-Baptiste Henri Durand-Brager, a French marine painter, was born at Dol in Brittany in 1814. He studied under Gudin and Eugène Isabey.
He was a naval officer who rose to the rank of captain. In 1840, he accompanied the fleet which repatriated Napoleon's remains from St. Helena, which island afforded him subjects for various pictures. He spent much of his time in travelling; he went to Buenos Aires with the squadron, Montevideo in 1841–42 aboard a French warship, and explored Uruguay and Brazil; he accompanied the expeditions to Tangiers and Mogador, and to Madagascar. He painted views of the places he visited, and also naval combats and sea-pieces. He died in 1879.
In the 1850s, he was in the Crimea during the war with Russia, where he turned his hand to photography as well as painting. He was one of about fifteen photographers, including Felice Beato, Roger Fenton and James Robertson, who photographed soldiers, barracks, camp life and battlefields and were the first to record a major war on film. Later, he returned to Constantinople where he made photographs of the landscape, monuments and the people.
He was a versatile painter, producing naval scenes, genre works, costumbrismo works, landscapes and works with Orientalist themes. There are several of his works in the galleries of Versailles.
See also
List of Orientalist artists
List of artistic works with Orientalist influences
References
This article incorporates text from a publication now in the public domain: Bryan, Michael (1886). "Durand-Brager, Jean Baptiste Henri". In Graves, Robert Edmund (ed.). Bryan's Dictionary of Painters and Engravers (A–K). Vol. I (3rd ed.). London: George Bell & Sons.
External links
Works by Jean-Baptiste Henri Durand-Brager at Project Gutenberg
Works by or about Jean-Baptiste Henri Durand-Brager at the Internet Archive
Jehan Bellegambe or Jean Bellegambe (sometimes Belgamb or Belganb) (c. 1470 – c. June 1535/March 1536) was a French-speaking Flemish painter of religious paintings, triptychs and polyptychs, the most important of which are now held at Douai, Arras, Aix, Lille, Saint Petersburg and Chicago. He was known as the 'master of colours' for the transparency and interplay of his colours. He is known as Jehan Bellegambe the elder to distinguish him from his descendants who were also called Jehan.
Life
Bellegambe was born and died in Douai, then in the county of Flanders (today in French Flanders). He was a child of the first marriage of Georges Bellegambe, a cabinetmaker and musician who was living in rue Fosset-Maugart (renamed, in 1862, rue Haute-des ferronniers). Nothing is known of Jehan de Bellegambe's artistic training. The first known mention of him is a document of 1504 which names him as a master painter. In 1528 he owned a house at the corner of rue de la Cloris and rue du Palais.
Works
His works are signed with a rebus.
Triptych of the Lamentation of Christ (c. 1500), tempera and oil on panel, commissioned by Grégoire de Moscron and his wife Jossine, acquired in 1863 by the National Museum in Warsaw from the Johann Peter Weyer's collection.
Triptych retable of Le Cellier (1508); showing the Cistercian abbey of Flines-lez-Raches, the porterie, the chevet and the transept.
Retable of Saint Adrian of Nicomedia (1515), oil on oak panel, left panel 75 cm by 33.5 cm, acquired in 1856 by the Louvre. The saint is shown in three-quarter profile on foot, in armour and with a sword, standing on the city.
Tripych of the mystic bath (1525), oil on wood, painted for Charles Coguin, 81 cm high, inscribed with the arms of the Abbaye d'Anchin, acquired in 1882 by the musée des Beaux-Arts de Lille, restored in 1921 and 1966.
Polyptych of Anchin, formed of 9 panels, painted for the Abbaye d'Anchin. Five-year restoration by the musées de France at Versailles. Put back on display on 6 March 2007 at the Musée de la Chartreuse de Douai.
Triptych of the Immaculate Conception (1525), Musée de la Chartreuse de Douai, commissioned by Jean Pottier (mayor of Douai from 1516) for his heavily sick daughter Marguerite. She wished to be buried in the chapel of the Walloon récollets of Douai and for her dowry to be used to pay for a retable dedicated to the Immaculate Conception. It was presented by the Pottier family.
Saint Catherine of Alexandria and Saint Barbara (both 1520), Art Institute of Chicago, which acquired them in 1983 as part of the collection of George F. Harding.
Notes and references
Bibliography
(in French) A. Preux, Résurrection d'un grand artiste Jehan Bellegambe de Douai : peintre du retable d'Anchinin, Extrait des Souvenirs de la Flandre Wallone, livraison de juin 1862, éd. de V. Wartelle, 1862 [1]
J. Turner, J., The dictionary of art. New York: Grove, 1996 ISBN 1-884446-00-0
External links
Jehan Bellegambe on Artcyclopedia
https://web.archive.org/web/20091008055836/http://www.insecula.com/oeuvre/O0027697.html
Jean (or Jehan) Fouquet (French pronunciation: [fuke]; c. 1420–1481) was a French painter and miniaturist. A master of panel painting and manuscript illumination, and the apparent inventor of the portrait miniature, he is considered one of the most important painters from the period between the late Gothic and early Renaissance. He was the first French artist to travel to Italy and experience first-hand the early Italian Renaissance.
Little is known of Fouquet's early life and education. Though long assumed to have been an apprentice of the so-called Bedford Master of Paris it is now suggested that he may have studied under the Jouvenal Master in Nantes, whose works were formerly assumed to be early works by Fouquet. Sometime between 1445 and 1447 he travelled to Italy where he came under the influence of Roman Quattrocento artists such as Fra Angelico and Filarete. During the 1450s he began working at the French court, where he counted kings Charles VII and his successor Louis XI among his many patrons.
Life
He was born in Tours. Little is known of his life, but it is certain that he was in Italy before 1447, when he executed a portrait of Pope Eugene IV, who died that year. The portrait survives only in copies from much later.
Upon his return to France, while retaining his purely French sentiment, he grafted the elements of the Tuscan style, which he had acquired during his period in Italy, upon the style of the Van Eycks, forming the basis of early 15th-century French art and becoming the founder of an important new school.
He worked for the French court, including Charles VII, the treasurer Étienne Chevalier, and the chancellor Guillaume Jouvenel des Ursins. Near the end of his career, he became court painter to Louis XI.
His work can be associated with the French court's attempt to solidify French national identity in the wake of its long struggle with England in the Hundred Years' War.
One example is when Fouquet depicts Charles VII as one of the three magi. This is one of the very few portraits of the king. According to some sources, the other two magi are the Dauphin Louis, future Louis XI, and his brother.
Paintings of the French court
Works
Fouquet's excellence as an illuminator, his precision in the rendering of the finest detail, and his power of clear characterization in work on this minute scale secured his eminent position in French art. His importance as a painter was demonstrated when his portraits and altarpieces were for the first time brought together from various parts of Europe for the exhibition of the "French Primitives" held at the Bibliothèque Nationale in Paris.
His self-portrait miniature would be the earliest sole self-portrait surviving in Western art, if the 1433 portrait by Jan van Eyck—usually called Portrait of a Man or Portrait of a Man in a Turban—is not in fact a self-portrait, as some art historians believe.
Far more numerous are his illuminated books and miniatures. The Musée Condé in Chantilly contains forty of the forty-seven remaining miniatures from the Hours of Étienne Chevalier, painted in 1461 for Chevalier. Fouquet also illuminated a copy of the Grandes Chroniques de France, for an unknown patron, thought to be either Charles VII or someone else at the royal court.
Also from Fouquet's hand are a few miniatures from five other books and eleven of the fourteen miniatures illustrating the Antiquities of the Jews by Flavius Josephus at the Bibliothèque Nationale. The second volume of this manuscript, with only one of the original thirteen miniatures, was discovered and bought in 1903 by Henry Yates Thompson at a London sale, and restored by him to France.
Only three drawings are attributed to Fouquet:
One of Fouquet's most important paintings is the Melun Diptych (c. 1452-1458), formerly in the Collegiate Church of Notre-Dame, Melun. The left wing of the diptych depicts Étienne Chevalier with his patron saint St. Stephen, and is now in the Gemäldegalerie, Berlin. The right wing shows a pale Virgin and Child surrounded by red and blue angels and is now at the Royal Museum of Fine Arts, Antwerp. Since at least the seventeenth century, the Virgin has been recognized as a portrait of Agnès Sorel.
Besides his self-portait miniature, the Louvre has his oil portraits of Charles VII and Guillaume Jouvenel des Ursins and six illuminated manuscript miniatures from the Hours of Étienne Chevalier and the Ancient History until Cesar and Facts of the Romans [fr].
Gallery
See also
Book of Hours of Simon de Varie
References
Notes
Citations
Sources
Further reading
External links
Jean Fouquet – Encyclopædia Britannica
Bibliothèque nationale de France – Jean Fouquet, Painter and Illuminator of the XVth Century (smaller English version)
Bibliothèque nationale de France – Jean Fouquet, peintre et enlumineur du XVe siècle (full French version)
Fouquet's decorations for the Book of Hours of Simon de Varie Manuscript 74 G 37. Koninklijke Bibliotheek National Library of the Netherlands
Jean-Antoine Watteau (UK: , US: , French: [ʒɑ̃ ɑ̃twan vato]; baptised 10 October 1684 – died 18 July 1721) was a French painter and draughtsman whose brief career spurred the revival of interest in colour and movement, as seen in the tradition of Correggio and Rubens. He revitalized the waning Baroque style, shifting it to the less severe, more naturalistic, less formally classical, Rococo. Watteau is credited with inventing the genre of fêtes galantes, scenes of bucolic and idyllic charm, suffused with a theatrical air. Some of his best known subjects were drawn from the world of Italian comedy and ballet.
Early life and training
Jean-Antoine Watteau was born in October 1684 in Valenciennes, once an important town in the County of Hainaut which became sequently part of the Burgundian and Habsburg Netherlands until its secession to France following the Franco-Dutch War. He was the second of four sons born to Jean-Philippe Watteau (1660–1720) and Michelle Lardenois (1653–1727), and was presumed to be of Walloon descent. The Watteaus were a quite well-to-do family, although Jean-Philippe, a roofer in second generation, was said to be given to brawling. Showing an early interest in painting, Jean-Antoine may have been apprenticed to Jacques-Albert Gérin, a local painter, and his first artistic subjects were charlatans selling quack remedies on the streets of Valenciennes. Watteau left for Paris in 1702. After a period spent as a scene-painter, and in poor health, he found employment in a workshop at Pont Notre-Dame, making copies of popular genre paintings in the Flemish and Dutch tradition; it was in that period that he developed his characteristic sketchlike technique.
His drawings attracted the attention of the painter Claude Gillot, and by 1705 he was employed as an assistant to Gillot, whose work, influenced by those of Francesco Primaticcio and the school of Fontainebleau, represented a reaction against the turgid official art of Louis XIV's reign. In Gillot's studio, Watteau became acquainted with the characters of the commedia dell'arte (which moved onto the théâtre de la foire following the Comédie-Italienne's departure in 1697), a favorite subject of Gillot's that would become one of Watteau's lifelong passions.
After a quarrel with Gillot, Watteau moved to the workshop of Claude Audran III, an interior decorator, under whose influence he began to make drawings admired for their consummate elegance. Audran was the curator of the Palais du Luxembourg, and from him Watteau acquired his knowledge of decorative art and ornamental design. At the palace, Watteau was able to see the magnificent series of canvases painted by Peter Paul Rubens for Queen Marie de Medici. The Flemish painter would become one of his major influences, together with the Venetian masters that he would later study in the collection of his patron and friend, the banker Pierre Crozat.
During this period Watteau painted The Departing Regiment, the first picture in his second and more personal manner, showing influence of Rubens, and the first of a long series of camp pictures. He showed the painting to Audran, who made light of it, and advised him not to waste his time and gifts on such subjects. Watteau determined to leave him, advancing as excuse his desire to return to Valenciennes. He found a purchaser, at the modest price of 60 livres, in a man called Sirois, the father-in-law of his later friend and patron Edme-François Gersaint, and was thus enabled to return to the home of his childhood. In Valenciennes he painted a number of the small camp-pieces, notably the Camp-Fire, which was again bought by Sirois, the price this time being raised to 200 livres.