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Intérieur d'atelier (attributed), c. 1826, Musée Magnin, Dijon. |
Le Peintre dans son atelier (attributed), c. 1826, Musée Magnin, Dijon. |
Marché aux chevaux dans un bourg normand, Musée Magnin, Dijon. |
Elsewhere in France |
Paysage et berger, 1820, Musée des Beaux-Arts et d'Archéologie de Châlons-en-Champagne. |
Simon Chénard in the play "Félix ou l'Enfant trouvé", 1821, Musée d'art et d'histoire Saint-Germain, Auxerre. |
Halte des peintres à Fontainebleau, c. 1824, Musée départemental de l'Oise, Beauvais. |
Paysage, bergere sur un ane, 1817, Musée des Beaux-Arts de Bordeaux. |
Paysage, chemin montagneux, 1817, Musée des Beaux-Arts de Bordeaux. |
Paysage avec une charette (attributed), Musée des beaux-arts, Chambéry. |
Paysage (attributed), Musée des beaux-arts, Chambéry. |
Portrait of Anne-Pierre Leprince and Portrait of Gustave Leprince, 1824, Musée des Beaux-Arts de Chartres. |
Vue d'une prairie by Alexandre Hyacinthe Dunouy, with figures by Leprince, Musée Thomas-Henry, Cherbourg-Octeville. |
Le marchand de chansons, 1825, Museum of European and Mediterranean Civilisations, Marseille |
Vieillard enchaîné dans un cachot, Musée d'art et d'histoire de Narbonne. |
Henri IV faisant entrer des vivres dans Paris qu'il assiège, gouache, 1821, Musée national du château de Pau. |
Un chasseur a l'affut (attributed), Musée Crozatier, Le Puy-en-Velay |
Paysage, étude, 181?, Musée des beaux-arts de Rouen. |
United States |
A Shepherd and a Rider on a Country Lane, c. 1823, Metropolitan Museum of Art, New York. |
Man in Oriental Costume in the Artist's Studio, c. 1823-1826, Metropolitan Museum of Art, New York. |
The Artist's Studio, completed by Eugène Lepoittevin, 1827, Chazen Museum of Art, University of Wisconsin–Madison |
Watercolor sketches, Clark Art Institute, Williamstown, Massachusetts. |
Sweden |
Eight works by Leprince, all acquired since 2016, including the oil on paper sketch Studio Interior with Artists Working, 1820, Nationalmuseum, Stockholm. |
Leprince at auction |
A record price for a painting by Leprince was set by La Moisson (1822), auctioned for €60,000 at Christie's in Paris in 2007. Other notable results include €52,875 for Les Patineurs (1823), Christie's Paris, 2003; $28,200 for A view of the coast at Le Havre by La Hève (1825), Christie's New York, 2000; and $24,000 for Landscape with a Farmhouse and Bridge (undated), Sotheby's New York, 2007. |
Historical prices for works by Leprince include the 1859 auction of Une Fête de village for 700 francs and the 1907 auction in Paris of two small paintings dated 1819, Le Départ de la diligence and L’Arrivée de la diligence, which sold for $4,500, equivalent to $128,870 in 2021. |
References |
Bibliography of publications by Leprince |
Leprince, Xavier (1822). Les Jeux des jeunes garçons représentés en 25 gravures à l'aqua-tints, d'après les dessins de Xavier Le Prince; avec l'explication détaillée des règles de chaque jeu; accompagnées de fables nouvelles par MM. Le Franc, Armand-Gouffé, etc. et suivis d'anecdotes relatives à chaque jeu, 5th edition, Paris: chez Nepveu, 1822. |
Leprince, Xavier (1823). Jeux des jeunes filles de tous les pays, representés en vingt-cinq lithograhies dápres ou par MM. Xavier le Prince, Colin et Noel, offrant des coutumes de toutes les nations: avec l'explication detaillee des règles de chaque jeu : accompagnes de fables, Paris: chez Nepveu et Alphonse Girou, 1823. |
Leprince, Xavier (1825). Six petits tableaux, six lithographs on papier de Chine from the collection of M. du Sommerard including Le Départ, l'Arrivée, la Laitière, Saint Louis rendant la justice, la Fête-Dieu and l'Ecole de village, Paris: chez Motte, 1825. |
Leprince, Xavier (1826). Inconvéniens d'un Voyage en Diligence, twelve hand-colored plates, original drawings by Leprince, lithography by Pierre Langlumé, Paris: Sazerac et Duval, 1826. |
Leprince, Xavier (attributed, 1826). Métamorphoses d'Arlequin. Parades: Jouées sur le Théâtre Français, twelve hand-colored plates, lithography by Pierre Langlumé, Brussels, 1826. |
Leprince, Xavier, and Jacottet, Louis-Julien (1827). Vues pittoresques du Dauphiné et du Lyonnais, dessinées d'après nature, sixteen lithographs on papier de Chine, Paris: Engelmann, Giraldon Bovinel, 1827. |
Bibliography |
Bellier de La Chavignerie, Émile and Auvray, Louis. Dictionnaire général des artistes de l'École française depuis l'origine des arts du dessin jusqu'à nos jours: architectes, peintres, sculpteurs, graveurs et lithographes, vol. 1, Paris: 1882-1885. |
Bénard, Pierre. "Du Sommerard à Provins: Le Plaisir des Ruines en 1822", Sites et monuments: bulletin de la Société pour la protection des paysages et de l'esthétique générale de la France, July 1988, pp. 10–13. |
Bolton, Roy and Strachan, Edward. "August-Xavier Leprince, The Harvest" in Russia & Europe in the Nineteenth Century, gallery catalogue, Sphinx Fine Art, 2002, pp. 52–53. |
Bonnemaison, Féréol. Galerie de son Altesse Royale Madame la duchesse de Berry, Tome 2: École française, Peintres modernes, notes on Les Patineurs and La Moisson (includes remarks on Leprince's recent death; he is incorrectly called Anne-Xavier Leprince), pages unnumbered, 1827. |
Du Sommerard, Alexandre (1822). Vues de Provins, dessinées et lithographiées, en 1822, par plusieurs artistes, avec un texte par M. D., Paris: chez Gide, 1822; four images by Xavier Leprince and four by Léopold Leprince. |
Du Sommerard, Alexandre (1827). "Notice Nécrologique sur M. Xavier Leprince, Peintre de genre, mort à Nice le 26 décembre 1826", Journal des artistes, 28 January 1827, pp. 56–58. |
Explication des ouvrages de peinture et dessins, sculpture, architecture et gravure des artistes vivans exposé au Musée Royal des Arts le 25 Août 1819, "Le Prince" entries numbered 746-751, p. 82. |
Explication des ouvrages de peinture et dessins, sculpture, architecture et gravure des artistes vivans exposé au Musée Royal des Arts le 4 Novembre 1827, Paris: Ballard, 1827. |
Gabet, Charles. Dictionnaire des artistes de l'école française au XIXe siècle, Paris: Chez Madame Vergne, 1831. |
Gertz, Stephen J. "The Gentle Art of Regurgitation During Travel by Coach, 1826", Booktryst blog, 27 September 2011. |
Haverkamp-Begemann, Egbert, Standish D. Lawder, and Charles W. Talbot, Jr. Drawings from the Clark Art Institute: A Catalogue Raisonné of the Robert Sterling Clark Collection of European and American Drawings, Sixteenth Through Nineteenth Centuries, at the Sterling and Francine Clark Art Institute, Williamstown, 2 volumes, New Haven: Yale University Press, 1964. |
Jal, A. Esquisses, croquis, pochades, ou, Tout ce qu'on voudra, sur le Salon de 1827, Paris: Ambroise Dupont et Cie, 1827. |
Landon, C.P. "Les Médecins français et les Sœurs de Saint-Camille à Barcelone; tableau de M. Xavier Le Prince" in Annales du Musée et de l'École moderne des beaux-arts: Salon de 1822, Paris: Landon, 1822, vol. 2, pp. 53–56 and fold-out plates 31 and 32. |
Lejeune, Théodore Michel. Guide théorique et pratique de l'amateur de tableaux: études sur les imitateurs et les copistes des maîtres de toutes les écoles, dont les oeuvres forment la base ordinaire des galeries, Paris: Gide, 1863-1865. |
Les Salons retrouvés. Eclat de la vie artistique dans la France du Nord, Lille: Associations des Conservateurs des Musées du Nord-Pas de Calais, 1993; he is incorrectly called Anne Xavier Leprince; see vol. 1, pp. 83, 120, 127-128, 203, 223; vol. 2, pp. 113, 186. |
Marcel, Henry Camille. La peinture française au XIXe siècle, Paris: A. Picard & Kaan, 1905. |
Marmottan, Paul, L'École française de peinture (1789-1839), Paris: H. Laurens, 1886. |
Marumo, Claude. Barbizon et les paysagistes du XIXe, Éditions de l'amateur, 1975. |
Miel, Edmé François Antoine Marie. Revue critique des productions de peinture, sculpture, gravure, exposées au Salon de 1824, Paris: J.G. Dentu, 1825. |
Miller, Asher Ethan. "The Path of Nature: French Paintings from the Wheelock Whitney Collection, 1785–1850." Metropolitan Museum of Art Bulletin 70 (Winter 2013), p. 46, fig. 63 (A Shepherd and a Rider on a Country Lane) and fig. 64 (Man in Oriental Costume in the Artist's Studio). |
Notice de tableaux, dessins et estampes... vente par suite du décès de M. Xavier Leprince... 12 mars 1827... (catalogue of a sale of Leprince's works, by his family, about eleven weeks after his death, consisting of 267 lots), Paris: Imprimerie de A. Coniam, 1827, 22 pages. |
Olausson, Magnus. "In the Artist's Studio: Auguste-Xavier Leprince and the Studio Interior as an Artistic Strategy", Art Bulletin of Nationalmuseum Stockholm 26:1 (2019), pp. 53–58. |
Sébille, Nadège. "Biographie d’Eugène Le Poittevin" in L'invention d'Étretat: Eugène Le Poittevin, un peintre et ses amis à l'aube de l'impressionnisme, Fécamp: éditions des Falaises, 2020, pp. 28–43. |
Tinterow, Gary; Pantazzi, Michael; Pomarède, Vincent. Corot, New York: Metropolitan Museum of Art, 1996. |
Philippe Cendron, Anne Xavier Leprince (1799-1826). Un « petit maître » parisien sous la Restauration, Cahiers du val de Bargis, Toulouse, CoolLibri, 2024 ISBN 9-791039-687331. |
External links |
Works by Auguste-Xavier Leprince in the Louvre, including hundreds of drawings and studies from sketchbooks. |
Works by Robert-Léopold Leprince in the Louvre. |
Eighteen paintings by Xavier Leprince in the collections of French museums. |
Works by Auguste-Xavier Leprince at the Nationalmuseum, Stockholm |
A commentary on Leprince's Paysage du Susten en Suisse (1824) at vanishingice.org |
A commentary on Leprince's Paysage du Susten en Suisse (1824) at L'Histoire par l'Image |
Giovanni Battista Gaulli (8 May 1639 – 2 April 1709), also known as Baciccio or Baciccia (Genoese nicknames for Giovanni Battista), was an Italian Baroque painter working in the High Baroque and early Rococo periods. He is best known for his grand illusionistic vault frescos in the Church of the Gesù in Rome. His work was influenced by Gian Lorenzo Bernini. |
Biography |
Gaulli was born in Genoa, where his parents died from the plague of 1654. He initially apprenticed with Luciano Borzone. In the mid-17th century, Gaulli's Genoa was a cosmopolitan Italian artistic center open to both commercial and artistic enterprises from north European countries, including countries with non-Catholic populations such as England and the Dutch provinces. Painters such as Peter Paul Rubens and Anthony van Dyck stayed in Genoa for a few years. Gaulli's earliest influences would have come from an eclectic mix of these foreign painters and other local artists including Valerio Castello, Giovanni Benedetto Castiglione, and Bernardo Strozzi, whose warm palette Gaulli adopted. In the 1660s, he experimented with the cooler palette and linear style of Bolognese classicism. |
He was first noticed by the Genoese merchant of artworks, Pellegrino Peri, who was living in Rome. Peri introduced him to Gianlorenzo Bernini, who promoted him. He found patrons among the Genoese Giovanni Paolo Oliva, a prominent Jesuit. In 1662, he was accepted into the Roman artists' guild, the Accademia di San Luca (Academy of Saint Luke), where he was to later hold several offices. The next year, he received his first public commission for an altarpiece, in the church of San Rocco, Rome. He received many private commissions for mythological and religious works. |
From 1669, however, after a visit to Parma, Correggio's frescoed dome-ceiling in the cathedral of Parma, Gaulli's painting took on a more painterly (less linear) aspect, and the composition, organized di sotto in su ("from below looking up"), would influence his later masterpiece. At his height, Gaulli was one of Rome's most esteemed portrait painters. Gaulli is not well known for any other medium but paint, though many drawings in many media have survived. All are studies for paintings. Gaulli died in Rome, shortly after 26 March 1709, probably 2 April. |
Church of the Gesù frescoes |
In the first half of the 17th century, two counter-reformation "mother" churches (Sant'Andrea of the Theatines and the Chiesa Nuova of the Oratorians) had been extensively decorated. This was not true for the two large Jesuit churches in Rome, which, while rich in marble and stone, remained artistically barren by the mid-17th century. This void would have been particularly evident for Il Gesù with its cavernous blank plaster nave ceiling. |
In 1661, the election of a new General of the Jesuit order, Gian Paolo Oliva, advanced the decoration. A new inductee into the order, the French Jacques Courtois (also known as Giacomo Borgognone) had become a respected painter and was the main candidate for its decoration. Oliva and the leader of the main patron family, the Duke of Parma, Ranuccio II Farnese whose uncle Cardinal Alessandro Farnese had endowed the construction of the church, began negotiating whether Borgognone should decorate the vault. Oliva wanted his fellow Jesuit for the commission, yet other prominent names such as Maratta, Ferri, and Giacinto Brandi were suggested. Ultimately, with Bernini's persuasive support and likely strong guidance thereafter, Oliva awarded the prestigious commission to the mere 22-year-old Gaulli. This choice may have been somewhat controversial, since Gaulli's naked figures recently frescoed in the pendentives for Sant'Agnese in Agone had offended some eyes, and, as had happened to Michelangelo's Sistine chapel altar frescoes, had required repainting to impose painted clothes. |
Gaulli decorated the entire dome including lantern and pendentives, central vault, window recesses, and transepts' ceilings. The original contract stipulated the dome was to be completed in two years, and the remainder by the end of ten years. If it met the approval of a panel, Gaulli was to be paid 14,000 scudi plus expenses. Gaulli's main vault fresco was unveiled on Christmas Eve, 1679. After this, he continued frescoing of the vaults of the tribune and other areas in the church until 1685. |
Gaulli's program for the nave was likely heavily overseen by Oliva and Bernini; though it is not clear how much all three contributed and whether they all shared the same philosophy. During this time, Bernini supposedly espoused some quietist teachings of the Spanish priest Miguel de Molinos, who was later condemned as heretical in no small part due to Jesuit efforts. Molinos proposed that God was accessible internally through an individual experience, while the Jesuits saw the church and clergy as an essential intermediary for access to Christ's salvation. Thus Oliva would have likely asked Gaulli to memorialize the role of frequently-martyred Jesuits as the apostolic shock troops in heretical and pagan societies, leading the charge of the papal Counter-Reformation. Ultimately, just as Bernini approved of the intermixing fresco and plaster in this new plastic conception, Gaulli blends these ideas in a fashion ultimately acceptable to his patron. |
Gaulli's nave masterpiece, the Triumph of the Name of Jesus (also known as the Worship, Adoration, or Triumph of the Holy Name of Jesus), is an allegory of the work of the Jesuits that envelops worshippers (or observers) below into the whirlwind of devotion. Swirling figures in the dark distal (entry) border of the composition frame base the open sky, ever rising upward toward a celestial vision of infinite depth. The light from Jesus' name - IHS - and symbol of the Jesuit order is gathered by patrons and saints above the clouds; while in the darkness below, a fusillade of brilliance scatters heretics, as if smitten by blasts of the Last Judgment. The great theatrical effect here inspired and developed under his mentor, prompted critics to label Gaulli a "Bernini in paint" or a "mouthpiece of Bernini's ideas". |
Gaulli's frescoes were a tour-de-force in illusionary painting, depicting the church's roof opens up above the viewer (and that the panorama is viewed in true perspective di sotto in su, similar to Correggio's frescoed dome ceiling depicting the Assumption of the Virgin or to Cortona's grand allegory at the Palazzo Barberini. Gaulli's ceiling is a masterpiece of quadratura (architectural illusionism) combining stuccoed and painted figures and architecture. Bernini's pupil Antonio Raggi provided the stucco figures, and from the nave floor, it is difficult to distinguish painted from stucco angels. The figural composition spill over the frame's edges which only heightens the illusion of the faithful rising miraculously toward the light above. |
Later work and legacy |
A series of such ceilings were painted in the naves of Roman churches during the last three decades of the 17th century, including Andrea Pozzo's massive allegory at the other Roman Jesuit church, Sant'Ignazio, as well as Domenico Maria Canuti's and Enrico Haffner's Apotheosis at Santi Domenico e Sisto. In the 18th century, Tiepolo and others continued quadratura in the grand manner. But as the High Baroque movement evolved into the more playful Rococo, the popularity of this style dwindled. In his later works, Gaulli too moved in this direction. Thus, in contrast to the grandeur of his composition at Il Gesù, we see Gaulli gradually adopting less intense colours, and more delicate compositions after 1685—all hallmarks of the Rococo. |
Gaulli accumulated a large number of pupils, among them Ludovico Mazzanti, Giovanni Odazzi, and Giovanni Battista Brughi (died 1730 in Rome). He was described as easy to mount a rage; but ready to recover, where reason was satisfied... generous, liberal of mind, and charitable, specially towards the poor. |
Works |
Worship of the Holy Name of Jesus (1674–1679), Church of the Gesù, Rome |
Adoration of the Name of Jesus (1674–1679), Church of the Gesù, Rome |
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