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The light of the south attracted Meissonnier. "It is delightful to sun oneself in the brilliant light of the South instead of wandering about like gnomes in the fog. The view at Antibes is one of the fairest sights in nature." And it is possible that the influence of plein-air landscapists had encouraged Meissonier to ... |
Meissonier worked with elaborate care and a scrupulous observation of nature. Some of his works, as for instance his 1807, remained ten years in course of execution. To the great Exhibition of 1878 he contributed sixteen pictures: the portrait of Alexandre Dumas fils which had been seen at the Salon of 1877, Cuirassier... |
On 24 May 1884 an exhibition was opened at the Petit Gallery of Meissonier's collected works, including 146 examples. As president of the jury on painting at the Exhibition of 1889 he contributed some new pictures. In the following year the New Salon was formed (the Société Nationale des Beaux-Arts), and Meissonier bec... |
A less well-known class of work than his painting is a series of etchings: The Last Supper, The Skill of Vuillaume the Lute Player, The Little Smoker, The Old Smoker, the Preparations for a Duel, Anglers, Troopers, The Reporting Sergeant, and Polichinelle, in the Hertford House collection. He also tried lithography, bu... |
Besides his genre portraits, he painted some others: those of Doctor Lefevre, of Chenavard, of Vanderbilt, of Doctor Guyon, and of Stanford. He also collaborated with the painter Français in a picture of The Park at St Cloud. |
Meissonier was attached by Napoleon III to the imperial staff, and accompanied him during the campaign in Italy at the beginning of the war in 1870. During the Siege of Paris (1870–1871) he was colonel of a regiment de marche, one of the improvised units thrown up in the chaos of the Franco-Prussian war. In 1840 he was... |
He nevertheless cherished certain ambitions which remained unfulfilled. He hoped to become a professor at the École des Beaux-Arts, but the appointment he desired was never given to him. He also aspired to be chosen deputy or made senator, but he was not elected. In 1861 he succeeded Abel de Pujol as member of the Acad... |
When the Société Nationale des Beaux-Arts was re-vitalized, in 1890, Ernest Meissonier was elected its first chairman, but he died soon; his successor was Puvis de Chavannes. The vice-president was Auguste Rodin. |
His son, Jean Charles Meissonier, also a painter, was his father's pupil, and was admitted to the Légion d'honneur in 1889. |
Rue Meissonier, in the 17th Arrondissement in Paris, France, is named after him. |
In 2020, Meissonier's painting Joueurs d’échecs was restituted to the heirs of Marguerite Stern, from whom it was looted under the Nazis. |
Gallery |
Pupils |
Georges Bretegnier |
Maurice Courant |
Édouard Detaille |
Lucien Gros |
Daniel Ridgway Knight |
Charles Meissonier |
Louis Monziès |
Alphonse Moutte |
Gaylord Sangston Truesdell |
See also |
Military art |
List of claims for restitution for Nazi-looted art |
Notes |
References |
This article incorporates text from a publication now in the public domain: Frantz, Henri (1911). "Meissonier, Jean Louis Ernest". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 18 (11th ed.). Cambridge University Press. pp. 85–86. |
King, Ross (2006), The Judgment of Paris, New York: Walker & Company, ISBN 0-8027-1466-8 |
Herbermann, Charles, ed. (1913). "Ernest Meissonier" . Catholic Encyclopedia. New York: Robert Appleton Company. |
Rines, George Edwin, ed. (1920). "Meissonier, Jean Louis Ernest" . Encyclopedia Americana. |
Further reading |
Works published up to 1901 |
Alexandre, Histoire de la peinture militaire en France (Paris, 1891) |
Laurens, Notice sur Meissonier (Paris, 1892) |
Gréard, Meissonier (Paris and London, 1897) |
T. G. Dumas, Maîtres modernes (Paris, 1884) |
Ch. Formentin, Meissonier, sa vie—son œuvre (Paris, 1901) |
J. W. Mollett, Illustrated Biographies of Modern Artists: Meissonier (London, 1882) |
Contemporary scholarship |
Marc Gotlieb, The plight of emulation: Ernest Meissonier and French salon painting (Princeton University Press, 1996) ISBN 0-691-04374-4, ISBN 978-0-691-04374-6 |
Patricia Mainardi, The end of the Salon: art and the state in the early Third Republic (Cambridge; New York: Cambridge University Press, 1993) ISBN 0-521-43251-0 |
External links |
Media related to Jean-Louis-Ernest Meissonier at Wikimedia Commons |
Ernest Meissonier in American public collections, on the French Sculpture Census website |
Jean-Marc Nattier (17 March 1685 – 7 November 1766) was a French painter. He was born in Paris, the second son of Marc Nattier (1642–1705), a portrait painter, and of Marie Courtois (1655–1703), a miniaturist. He is noted for his portraits of the ladies of King Louis XV's court in classical mythological attire. |
Life |
He received his first instruction from his father, and from his uncle, the history painter Jean Jouvenet (1644–1717). He enrolled in the Royal Academy in 1703 and applied himself to copying pictures in the Luxembourg Palace, making a series of drawings of the Marie de Médici painting cycle by Peter Paul Rubens. The pub... |
Nattier aspired to be a history painter. Between 1715 and 1720 he devoted himself to compositions like the Battle of Pultawa, which he painted for Peter the Great, and the Petrification of Phineus and of his Companions, which led to his election to the Academy. He died in Paris in 1766. |
Portraits |
The financial collapse of 1720 caused by the schemes of Law all but ruined Nattier, who found himself forced to devote his whole energy to portraiture, which was more lucrative. He became the painter of the artificial ladies of Louis XV's court. He subsequently revived the genre of the allegorical portrait, in which a ... |
Nattier's graceful and charming portraits of court ladies in this mode were very fashionable, partly because he could beautify a sitter while also retaining her likeness. The most notable examples of his straightforward portraiture are the Marie Leczinska at the Dijon Museum, and the group portrait The Artist Surrounde... |
Many of his notable paintings are on permanent exhibit at major museums. Thus at the Louvre is his Magdalen; in the Musee Jacquemart-Andre his Portrait of Mathilde de Canisy, marquise d'Antin; at Nantes the portrait of La Camargo and A Lady of the Court of Louis XV. At Orléans a Head of a Young Girl, at Marseilles a po... |
At the Wallace collection Nattier is represented by The comtesse de Tillières (formerly known as Portrait of a Lady in Blue), Mademoiselle de Clermont en sultane, and The marquise de Belestat. In the early part of the 20th century in the collection of Mr Lionel Phillips were the duchess of Flavacourt as Le Silence, and... |
The Getty Museum has Madame Bonier de la Mosson as Diana, 1742. The Metropolitan Museum of Art has Madame de Maison-Rouge as Diana, 1756. The 1744 Duchesse de Chartres as Hebe Nationalmuseum is in the collection of Nationalmuseum. |
Select gallery |
Sources |
Nattier: Jean-Marc Nattier Masters in Art: A Series of Illustrated Monographs: Issued Monthly; June, 1902, Part 30, Vol. 3, (Bates & Guild Co., Boston) |
References |
Media related to Jean-Marc Nattier at Wikimedia Commons |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Nattier, Jean Marc". Encyclopædia Britannica. Vol. 19 (11th ed.). Cambridge University Press. p. 273.; Endnotes: |
See "J. M. Nattier", by Paul Mantz, in the Gazette des beaux-arts (1894) |
Life of Nattier, by his daughter, Madame Tocqué |
Nattier by Pierre de Nolhac (1904, revised 1910) |
French Painters of the XVIIIth Century, by Lady Dilke (London, 1899). |
Joachim Beuckelaer (c. 1533 – c. 1570/4) was a Flemish painter specialising in market and kitchen scenes with elaborate displays of food and household equipment. His development of the genre of market and kitchen scenes was influential on the development of still life art in Northern Europe as well as Italy and Spain.... |
Life |
Details about the life of the artist are scarce. Beuckelaer was born in Antwerp into a family of painters. He was likely the son of the painter Mattheus Beuckeleer and the grandson of the painter Cornelis de Beuckelaer. His brother, known as Huybrecht Beuckeleer, also became a painter. The works of Huybrecht have occ... |
Beuckelaer became an independent master in the Antwerp Guild of Saint Luke in 1560. He remained active in Antwerp throughout his career and continued to develop themes pioneered in painting by Aertsen, but arguably surpassing his presumed master in skill. Beuckelaer was reportedly not getting high prices for his works ... |
The date of his death is not known with certainty but fell likely between 1570 and 1574. |
Work |
Beuckelaer specialised in market and kitchen scenes with elaborate displays of food and household equipment. He also painted some brothel scenes. During the 1560s, especially during the early part of the decade, Beuckelaer painted some purely religious works, possibly because there was little demand for his kitchen and... |
Many of Beuckelaer's works, as those of Pieter Aertsen, show in the foreground tables full of bountiful produce which can be interpreted as temptations of earthly satisfactions. Often these works not only reference the pleasures of food but also contain objects and gestures which point to the temptations of sexual des... |
As an antidote to these earthly temptations, Beuckelaer's market scenes, like those of Aertsen, often incorporate biblical episodes in the background. His Four Elements series National Gallery, London are a good example. The painting depicting the element Water, for example, shows a fish market selling 12 kinds of fish... |
Both Aertsen and Beuckelaer gradually developed images that detached the world of produce from the religious content of their earlier hybrid images. These later works depict either kitchens or markets and the persons associated with those activities, more often women than men. The later paintings by Beuckelaer show a... |
One of the still lives without figures in the kitchen or market scene itself is the Kitchen scene with Christ at Emmaus (c. 1660/65, Mauritshuis, The Hague) which is unique in his oeuvre. In this composition Beuckelaer painted a kitchen with numerous ingredients for a lavish meal: vegetables, fruits, nuts, poultry and ... |
Beuckelaer was also employed painting the figures or the garments in the work of other artists such as Anthonis Mor and Cornelis van Dalem. |
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