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The Private Collection of Edgar Degas, fully digitized text from The Metropolitan Museum of Art libraries (see Degas and Cézanne: Savagery and Refinement, pp. 197–220) |
Société Paul Cezanne |
John Rewald Papers |
Barnes Foundation Archives |
Paul Rosenberg Archives |
Lionello Venturi Archive |
Hippolyte-Paul Delaroche (French pronunciation: [ipɔlit pɔl dəlaʁɔʃ]; Paris, 17 July 1797 – Paris, 4 November 1856) was a French painter who achieved his greater successes painting historical scenes. He became famous in Europe for his melodramatic depictions that often portrayed subjects from English and French history... |
Delaroche was born into a generation that saw the stylistic conflicts between Romanticism and Davidian Classicism. Davidian Classicism was widely accepted and enjoyed by society so as a developing artist at the time of the introduction of Romanticism in Paris, Delaroche found his place between the two movements. Subjec... |
Biography |
Delaroche was born in Paris and stayed there for the majority of his life. Most of his works were completed in his studio on Rue Mazarine. His subjects were painted with a firm, solid, smooth surface, which gave an appearance of the highest finish. This texture was the manner of the day and was also found in the works... |
The first Delaroche picture exhibited was the large Jehosheba saving Joash (1822). This exhibition led to his acquaintance with Théodore Géricault and Eugène Delacroix, with whom he formed the core of a large group of Parisian historical painters. He visited Italy in 1838 and 1843, when his father-in-law, Horace Vernet... |
Early life |
Paul Delaroche was born into the petty lord de la Roche family, a family of artists, dealers, collectors, and art administrators. His father, Gregoire-Hippolyte Delaroche, was a prominent art dealer in Paris. Paul Delaroche was the second of two sons and was introduced to fine art at a young age. At age nineteen, Delar... |
Artistic independence |
Delaroche's debuted at the Salon in 1822 where he exhibited Christ Descended from the Cross (1822: Paris, Pal. Royale, Chapelle) and Jehosheba Saving Joash (1822; Troyes, Mus. B.-A. & Archéol). The latter was a product of Gros's influence and was praised by Géricault who supported the beginning of Romanticism. The scho... |
As a history painter, Delaroche aimed to present in his work a "philosophical analysis" of a historical event and link it to "the nineteenth-century understanding of historical truth and historical time." Although there are some discrepancies between history and his own history painting, Delaroche saw the importance in... |
Historical works and accuracy |
His dramatic paintings include Strafford Led to Execution, depicting the English Archbishop Laud stretching his arms out of the small high window of his cell to bless Thomas Wentworth, 1st Earl of Strafford, as Strafford passes along the corridor to be executed, and the Assassination of the duc de Guise at Blois. Anot... |
Delaroche's work sometimes contained historical inaccuracies. Cromwell lifting the Coffin-lid and looking at the Body of Charles is based on an urban legend. He tended to care more about dramatic effect than historical truth: see also The King in the Guardroom, where villainous Puritan soldiers blow tobacco smoke in t... |
Later works and the close of his career |
After 1837, Delaroche stopped exhibiting his work altogether. The disappointing public reception of his painting, St. Cecilia, along with his overall rejection of Davidian values in French society and government led him to his "self-imposed exile from the government-sponsored Salons." Delaroche then commenced the creat... |
Marriage to Louise Vernet |
Delaroche's love for Horace Vernet's daughter Louise was the absorbing passion of his life. He married Louise in 1835, in which year he also exhibited Head of an Angel, which was based on a study of her. It is said that Delaroche never recovered from the shock of her death in 1845 at the age of 31. After her loss he pr... |
The Hémicycle |
In 1837, Delaroche received the commission for the great picture that came to be known as the Hémicycle, a Raphaelesque tableau influenced by The School of Athens. This was a mural 27 metres (88.5 ft) long, in the hemicycle of the award theatre of the École des Beaux Arts. The commission came from the École's architec... |
To supply the female element in this vast composition he introduced the genii or muses, who symbolize or reign over the arts, leaning against the balustrade of the steps, depicted as idealized female figures. The painting is not fresco but done directly on the wall in oil. Delaroche finished the work in 1841, but it ... |
Fake or Fortune |
In 2016, the BBC TV programme Fake or Fortune? investigated the authenticity of a version of Delaroche's Saint Amelia, Queen of Hungary. After reviewing the show's findings, Professor Stephen Bann, a leading Delaroche expert, concluded that the version, bought for £500 in 1989 by the late art collector and dealer Neil... |
Gallery |
Photography |
Delaroche is often quoted as saying "from today, painting is dead." The observation was probably made in 1839, when Delaroche saw examples of the Daguerreotype, the first successful photographic process. |
See also |
Charles I Insulted by Cromwell's Soldiers, the 1836 Delaroche painting thought lost in the Blitz, rediscovered in 2009. |
References |
Sources |
Bann, Stephen. 1997. Paul Delaroche: History Painted. London: Reaktion Books; Princeton: Princeton University Press. ISBN 0-691-01745-X |
Bann, Stephen. 2006. "Paul Delaroche's Early Work in the Context of English History Painting." Oxford Art Journal, 2006. 341. |
Bann, Stephen and Linda Whiteley. 2010. Painting History: Delaroche and Lady Jane Grey. London: National Gallery Company; Distributed by Yale University Press. ISBN 978-1-85709-479-4 |
Carrier, David. Nineteenth-Century French Studies 26, no. 3/4 (1998): 476–78. JSTOR 23537629 |
Chilvers, Ian. "Delaroche, Paul." In the Oxford Dictionary of Art and Artists, Oxford University Press, http://www.oxfordreference.com/view/10.1093/acref/9780191782763.001.0001/acref-9780191782763-e-687. |
Deines, Stefan, Stephan Jaeger, and Ansgar Nünning. 2003. Historisierte Subjekte—subjektivierte Historie: zur Verfügbarkeit und Unverfügbarkeit von Geschichte. Berlin: De Gruyter. |
Duffy, Stephen. "Delaroche and Lady Jane Grey: London." The Burlington Magazine 152, no. 1286 (2010): 338–39. JSTOR 27823182. |
Jordan, Marc. "Delaroche, Paul." The Oxford Companion to Western Art. Oxford Art Online. Oxford University Press, accessed 17 November 2016, http://www.oxfordartonline.com/subscriber/article/opr/t118/e711. |
This article incorporates text from a publication now in the public domain: Scott, William Bell (1911). "Delaroche, Hippolyte". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 7 (11th ed.). Cambridge University Press. pp. 944–945. |
Tanyol, Derin. (2000) Histoire anecdotique—the people's history? Gras and Delaroche, Word & Image, 16:1, 7–30, doi:10.1080/02666286.2000.10434302 |
Whiteley, Linda. "Delaroche." Grove Art Online. Oxford Art Online. Oxford University Press, accessed 4 November 2016, http://www.oxfordartonline.com/subscriber/article/grove/art/T021935pg2. |
Wright, Beth S. "The Space of Time: Delaroche's Depiction of Modern Historical Narrative." Nineteenth-Century French Studies 36, no. 1/2 (2007): 72–93. JSTOR 23538480. |
Chernysheva, Maria. "Paul Delaroche: The Reception of his Work in Russia." Vestnik of Saint Petersburg University. Arts 9, no. 3 (2019): 577–589. |
External links |
Delaroche returned after 70 years |
"Delaroche, Hippolyte" . Collier's New Encyclopedia. 1921. |
"Delaroche, Hippolyte" . The New Student's Reference Work . 1914. |
Eugène Henri Paul Gauguin (; French: [øʒɛn ɑ̃ʁi pɔl ɡoɡɛ̃]; 7 June 1848 – 8 May 1903) was a French painter, sculptor, printmaker, ceramist, and writer, whose work has been primarily associated with the Post-Impressionist and Symbolist movements. He was also an influential practitioner of wood engraving and woodcuts as ... |
Gauguin was born in Paris in 1848, amidst the tumult of Europe's revolutionary year. In 1850, Gauguin's family settled in Peru, where he experienced a privileged childhood that left a lasting impression on him. Later, financial struggles led them back to France, where Gauguin received formal education. Initially workin... |
He exhibited with the Impressionists in the early 1880s, but soon began developing his distinct style, characterized by a bolder use of color and less traditional subject matter. His work in Brittany and Martinique showcased his inclination towards depicting native life and landscapes. By the 1890s, Gauguin's art took ... |
His paintings from that period, characterized by vivid colors and Symbolist themes, would prove highly successful among the European viewers for their exploration of the relationships between people, nature, and the spiritual world. Gauguin's art became popular after his death, partially from the efforts of dealer Ambr... |
Biography |
Family history and early life |
Gauguin was born in Paris to Clovis Gauguin and Aline Chazal on 7 June 1848, the year of revolutionary upheavals throughout Europe. His father, a 34-year-old liberal journalist from a family of entrepreneurs in Orléans, was compelled to flee France when the newspaper for which he wrote was suppressed by French authorit... |
Paul Gauguin's maternal grandmother, Flora Tristan, was the illegitimate daughter of Thérèse Laisnay and Don Mariano de Tristan Moscoso. Details of Thérèse's family background are not known; Don Mariano came from an aristocratic Spanish family from the Peruvian city of Arequipa. He was an officer of the Dragoons. Membe... |
In 1850, Clovis Gauguin departed for Peru with his wife Aline and young children in hopes of continuing his journalistic career under the auspices of his wife's South American relations. He died of a heart attack en route, and Aline arrived in Peru as a widow with the 18-month-old Paul and his 21⁄2 year-old sister, Mar... |
Gauguin's idyllic childhood ended abruptly when his family mentors fell from political power during Peruvian civil conflicts in 1854. Aline returned to France with her children, leaving Paul with his paternal grandfather, Guillaume Gauguin, in Orléans. Deprived by the Peruvian Tristan Moscoso clan of a generous annuity... |
Education and first job |
After attending a couple of local schools, Gauguin was sent to the prestigious Catholic boarding school Petit Séminaire de La Chapelle-Saint-Mesmin. He spent three years at the school. At the age of 14, he entered the Loriol Institute in Paris, a naval preparatory school, before returning to Orléans to take his final y... |
In 1871, Gauguin returned to Paris where he secured a job as a stockbroker. A close family friend, Gustave Arosa, got him a job at the Paris Bourse; Gauguin was 23. He became a successful Parisian businessman and remained one for the next 11 years. In 1879 he was earning 30,000 francs a year (about $145,000 in 2019 US ... |
Marriage |
In 1873, he married a Danish woman, Mette-Sophie Gad (1850–1920). Over the next ten years, they had five children: Émile (1874–1955); Aline (1877–1897); Clovis (1879–1900); Jean René (1881–1961); and Paul Rollon (1883–1961). By 1884, Gauguin had moved with his family to Copenhagen, Denmark, where he pursued a business ... |
His middle-class family and marriage fell apart after 11 years when Gauguin was driven to paint full-time. He returned to Paris in 1885, after his wife and her family asked him to leave because he had renounced the values they shared. Gauguin's last physical contact with them was in 1891, and Mette eventually broke wit... |
First paintings |
In 1873, around the time he became a stockbroker, Gauguin began painting in his free time. His Parisian life centered on the 9th arrondissement of Paris. Gauguin lived at 15, rue la Bruyère. Nearby were the cafés frequented by the Impressionists. Gauguin also visited galleries frequently and purchased work by emerging ... |
His close friend Émile Schuffenecker, a former stockbroker who also aspired to become an artist, lived close by. Gauguin showed paintings in Impressionist exhibitions held in 1881 and 1882 (earlier, a sculpture of his son Émile had been the only sculpture in the 4th Impressionist Exhibition of 1879). His paintings rece... |
In 1882, the stock market crashed and the art market contracted. Paul Durand-Ruel, the Impressionists' primary art dealer, was especially affected by the crash, and for a period of time stopped buying pictures from painters such as Gauguin. Gauguin's earnings contracted sharply, and over the next two years he slowly fo... |
In October 1883, he wrote to Pissarro saying that he had decided to make his living from painting at all costs and asked for his help, which Pissarro at first readily provided. The following January, Gauguin moved with his family to Rouen, where they could live more cheaply and where he thought he had discerned opportu... |
Life in Copenhagen proved equally difficult, and their marriage grew strained. At Mette's urging, supported by her family, Gauguin returned to Paris the following year. |
France 1885–1886 |
After a brief period in Italy, spent in the small towns of San Salvo and Ururi, Gauguin returned to Paris in June 1885, accompanied by his six-year-old son Clovis. The other children remained with Mette in Copenhagen, where they had the support of family and friends while Mette herself was able to get work as a transla... |
Most of these paintings were earlier work from Rouen or Copenhagen and there was nothing really novel in the few new ones, although his Baigneuses à Dieppe ("Women Bathing") introduced what was to become a recurring motif, the woman in the waves. Nevertheless, Félix Bracquemond did purchase one of his paintings. This e... |
Gauguin spent the summer of 1886 in the artist's colony of Pont-Aven in Brittany. He was attracted in the first place because it was cheap to live there. However, he found himself an unexpected success with the young art students who flocked there in the summer. His naturally pugilistic temperament (he was both an acco... |
That summer, he executed some pastel drawings of nude figures in the manner of Pissarro and those by Degas exhibited at the 1886 eighth Impressionist exhibition. He mainly painted landscapes such as La Bergère Bretonne ("The Breton Shepherdess"), in which the figure plays a subordinate role. His Jeunes Bretons au bain ... |
Gauguin, along with Émile Bernard, Charles Laval, Émile Schuffenecker and many others, re-visited Pont-Aven after his travels in Panama and Martinique. The bold use of pure colour and Symbolist choice of subject matter distinguish what is now called the Pont-Aven School. Disappointed with Impressionism, Gauguin felt th... |
Cloisonnism and synthetism |
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