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Friends and family |
At various times Maurice Sand, Scheffer, Charles Gounod, Hector Berlioz were in relationships with Pauline Viardot—in letters they claimed that they were in love with her. She wrote in one letter: |
Louis and Scheffer (Scheffer was the best friend of Louis Viardot, husband of Pauline Viardot) has always been my dearest of friends, and it is sad, that I was never able to respond to the hot and deep love of Louis, despite all my volition. She was married to Louis Viardot at 18 years old, when her husband was a direc... |
In 1850 Scheffer became a French citizen and married Sophie Marin, the widow of General Marie Étienne François Henri Baudrand. Marin died in 1856. |
His younger brother Hendrik Scheffer, born in The Hague on 27 September 1798, was also a painter. |
Gallery |
See also |
Musée de la Vie Romantique, Hôtel Scheffer-Renan, Paris |
References |
Further reading |
Morris, Edward (1985). "Ary Scheffer and his English Circle". Oud Holland. 99 (4): 294–323. doi:10.1163/187501785X00143. JSTOR 42711190. |
External links |
Media related to Ary Scheffer at Wikimedia Commons |
Ary Scheffer at Art Renewal Center |
Auguste-Xavier Leprince (August 28, 1799 – December 26, 1826) was a French artist and painter who attained celebrity at the age of seventeen. His patrons included the Duchesse de Berry, Charles X, and Alexandre du Sommerard. He was also a teacher; in his twenties he established his own atelier in Paris, with pupils inc... |
Early success with pastoral subjects |
Xavier Leprince was born in Paris, the son of Anne-Pierre Leprince (said to be a painter and lithographer, but about whom little is known) and Marie-Adélaïde-Florentine Datir. Alexandre du Sommerard, who became one of his patrons, indicates that Xavier was essentially a self-taught artist, saying his early paintings we... |
His earliest known works, dating from 1816 to 1819, mostly depict livestock and their keepers in pastoral settings. These precocious works gained for the teenaged Leprince "a celebrity confirmed by the exorbitant prices set, by the merchants themselves, for his first productions." Art historians see in these early work... |
He made his salon debut at age nineteen, exhibiting six paintings, all landscapes or rural subjects, at the Paris Salon of 1819, where he was awarded a medal. |
His expertise at depicting farming life in rural France reached a new level with his 1822 work La moisson, a painting of laborers harvesting a field, which was purchased by Marie-Caroline de Bourbon-Sicile, duchesse de Berry, who also collected Leprince's 1823 painting of ice-skaters, Les Patineurs. (She may also have ... |
His 1823 painting, Embarquement des bestiaux sur le Passager dans le port de Honfleur (Embarkation of Cattle on the Passager at the Port of Honfleur), emblematic of the cattle paintings of the era, was of singular importance to his career. Féréol Bonnemaison wrote that it "placed M. Leprince among our best genre painte... |
Other genres |
Moving beyond pastoral subjects, Leprince also painted marine art, scenes of Parisian life, works in the troubadour style, portraits, and the Forest of Fontainebleau, which had just begun to attract a new generation of French artists. |
He also specialized in painting the human figures for a number of landscape painters, including Nicolas Alexandre Barbier, Étienne Bouhot, Alexandre-Hyacinthe Dunouy, André Giroux, Charles-Caïus Renoux, and Henri Édouard Truchot. This practice of being a "general contractor" to artists "who do not have the courage to... |
Leprince's skill at figure painting was appreciated by Corot, and Vincent Pomarède speculates that Corot was influenced by Leprince. |
Works such as the watercolor A Ceremony on the Capitoline Hill in Rome, dated 1821, provide evidence of travel to Italy. |
In 1822, from the Société des Amis des Arts, Leprince received a commission to commemorate the valiant efforts of French doctors and nuns who had traveled to Barcelona in response to an epidemic of yellow fever, which killed an estimated 20,000 inhabitants. The resulting painting was an ambitious panorama with more tha... |
In 1824, inspired to paint the coast of Normandy, Leprince began sharing a studio with Eugène Isabey at Honfleur. |
Patronage of du Sommerard |
By 1822, the year Leprince turned 23, his talents as a painter had attracted the patronage of the antiquarian Alexandre du Sommerard, whose collection of medieval art and artifacts would become the Musée de Cluny. Du Sommerard included lithographs of four works by Leprince in his highly influential Vues de Provins, whi... |
At the Paris Salon of 1824, Leprince exhibited a full-length portrait of his patron, listed in the catalogue as Portrait en pied de M. du S… dans son cabinet. Its location is unknown. |
At the time of his death, Leprince left unfinished two paintings commissioned by du Sommerard. One was The Artist's Studio. The other depicted an elderly collector conferring with a Jewish antiques dealer and surrounded by prized artifacts from his collection, entitled L’Antiquaire (The Antiquarian). To complete this p... |
The Artist's Studio and artists en plein air |
At an unusually early age, especially if he was in fact a self-taught painter, Leprince opened an atelier and accepted pupils. In the last year of his life he began work on a highly-detailed painting depicting himself and his circle of artists, students, and patrons, following in the tradition of atelier paintings such... |
Leprince's painting includes no fewer than seven easels and nine painters with spectators. The focus is not on a single artist, in other words, but on several different ones. The studio was in a property called “la Childebert”, after its address at 9, rue Childebert (Paris), close to what is now the boulevard Saint-Ger... |
The painting was unfinished at the time of Leprince's death. To finish it, Du Sommerard commissioned one of Leprince's pupils, Eugène Lepoittevin. When it was exhibited at the Paris Salon of 1827, the catalogue noted: "Of the thirty figure-portraits included in the composition, nineteen had been completed by Mr. Xavier... |
In 1982, The Artist's Studio was acquired by the Chazen Museum of Art at the University of Wisconsin–Madison. Two oil on canvas works which appear to be studies for the painting are in the collection of the Musée Magnin in Dijon. Intérieur d'atelier depicts the figure thought to be Leprince in the finished painting, se... |
In the years leading up to The Artist's Studio, Leprince made numerous studies of artists, notably Studio Interior with Artists Working (1820), now in the Nationalmuseum, Stockholm, and many drawings of artists in sketchbooks held by the Louvre. |
Leprince also depicted artists en plein air (outdoors), notably in Halte des peintres à Fontainebleau (Painters at Rest, Fontainebleau; c. 1824), which was included in the 2008 exhibition "In the Forest of Fontainebleau: Painters and Photographers from Corot to Monet" at the National Gallery. "It is quite common for ar... |
Illustrations and lithographs |
For popular consumption, Leprince also created book illustrations and works for reproduction as lithographs. In the estate sale that followed his death, one lot was described as "fifty lithographed pieces, comprising the complete work of everything M. X. Leprince has executed in lithography." |
Not too far from boyhood himself, he provided illustrations for Les Jeux des jeunes garçons (The Games of Young Boys), published in 1822. The book was a popular success (the entry at worldcat.org notes a fifth edition), and was followed a year later by the fanciful Jeux des jeunes filles de tous les pays (Games of Youn... |
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