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References |
Further reading |
External links |
Chronological list of Paintings by François Boucher at Wikidata |
70 artworks by or after François Boucher at the Art UK site |
François Boucher.org |
Boucher's Madame de Pompadour Archived 2014-10-24 at the Wayback Machine (video) |
Boucher's Venus Consoling Love (video) |
Mobilier national collection |
François Clouet (c. 1510 – 22 December 1572), son of Jean Clouet, was a French Renaissance miniaturist and painter, particularly known for his detailed portraits of the French ruling family. |
Historical references |
François Clouet was born in Tours, as the son of the court painter Jean Clouet. Jean Clouet was a native of the Southern Netherlands and probably from the Brussels area. François Clouet studied under his father. He inherited his father's nickname 'Janet' and is referred to as such in some early sources and the older ... |
The earliest reference to François Clouet is a document dated December 1541 in which the king renounces for the benefit of François his father's estate, which had escheated to the crown as the estate of a foreigner. In this document, the younger Clouet is said to have followed his father very closely in his art. Like h... |
As the praises of François Clouet were sung by the writers of the day, his name was carefully preserved from reign to reign, and there is an ancient and unbroken tradition in the attribution of many of his pictures. There are not, however, any original attestations of his works, nor are any documents known which would ... |
He probably also painted the portrait of Catherine de' Medici at Versailles and other works, and in all probability a large number of the drawings ascribed to him were from his hand. |
One of his most remarkable portraits is that of Mary, Queen of Scots, a drawing in chalks in the Bibliothèque Nationale, and of similar character are the two portraits of Charles IX and the one at Chantilly of Marguerite of France. |
Perhaps his masterpiece is the portrait of Elizabeth of Austria in the Louvre. |
This piece made an important impression on Claude Lévi-Strauss. |
In particular it helped inspire his theory of the modèle réduit, or of works of art as 'miniature models', and other theories of artworks, in his book The Savage Mind. |
Clouet resided in Paris in the rue de Ste Avoye in the Temple quarter, close to the Hotel de Guise, and in 1568 is known to have been under the patronage of Claude Gouffier de Boisy, Seigneur d'Oiron, and his wife Claude de Baune. Another ascertained fact concerning François Clouet is that in 1571 he was summoned to th... |
Several miniatures are believed to be his work, one very remarkable portrait being the half-length figure of Henry II in the collection of J. Pierpont Morgan. Another of his portraits is that of François, duc d'Alençon in the Jones collection at the Victoria & Albert Museum. Catherine de Medici described the efforts of... |
Certain representations of members of the royal family which were in the Hamilton Palace collection and the Magniac sale are usually ascribed to him. |
He died on 22 December 1572, shortly after the massacre of St Bartholomew, and his will, mentioning his sister and his two illegitimate daughters, and dealing with the disposition of a considerable amount of property, is still in existence. His daughters subsequently became nuns. |
References |
Attribution: |
This article incorporates text from a publication now in the public domain: Williamson, George Charles (1911). "Clouet, François". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 6 (11th ed.). Cambridge University Press. pp. 559–560. |
External links |
Media related to François Clouet at Wikimedia Commons |
François Pascal Simon Gérard (French pronunciation: [fʁɑ̃swa paskal simɔ̃ ʒeʁaʁ], 4 May 1770 – 11 January 1837), titled as Baron Gérard in 1809, was a prominent French painter. He was born in Rome, where his father occupied a post in the house of the French ambassador, and his mother was Italian. After he was made a ba... |
Life and career |
François Gérard was born in Rome to J. S. Gérard and Cleria Matteï. At the age of twelve, Gérard obtained admission into the Pension du Roi in Paris. From the Pension, he passed to the studio of the sculptor Augustin Pajou, which he left at the end of two years for the studio of the history painter Nicolas-Guy Brenet, ... |
In 1789, he competed for the Prix de Rome, which was carried off by his comrade Girodet. The following year (1790), he once more showed up, but the passing of his father prevented him from finishing his work and forced him to travel to Rome with his mother. He eventually made it back to Paris in 1791, but due to his ex... |
In 1794, he obtained the first prize in a competition, the subject of which was The Tenth of August, that is, the storming of the Tuileries Palace on that date in 1792. Further stimulated by the successes of his rival and friend Girodet in the Salons of 1793 and 1794, Gérard (aided by Jean-Baptiste Isabey, the miniatur... |
In 1808, as many as eight (and in 1810, no less than fourteen) portraits by him were exhibited at the Salon, and these figures afford only an indication of the enormous numbers which he executed yearly. All of the leading figures of the Empire and of the Bourbon Restoration, and all of the most celebrated men and women... |
Rich and famous, Gérard was stung by remorse for earlier ambitions abandoned; at intervals, he had indeed striven with Girodet and other rivals to prove his strength at history painting, still a more prestigious genre than portraiture. His Bataille d'Austerlitz (1810) showed a breadth of invention and style which was e... |
Loaded with honors – baron of the Empire in 1809, member of the Institut on 7 March 1812, officer of the Légion d'honneur, first painter to the king – he worked on, sad and discouraged. He painted several works to celebrate the Coronation of Charles X in 1825. The revolution of 1830 added to his disquiet, and on 11 Jan... |
Gérard is best remembered for his portraits. The color of his paintings has suffered, but his drawings show in uninjured delicacy the purity of his line, and those of women are specially remarkable for a virginal simplicity and frankness of expression. His students included Heinrich Christoph Kolbe. |
Selected works |
See also |
Neoclassicism in France |
Footnotes |
References |
Sources |
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Gérard, François". Encyclopædia Britannica. Vol. 11 (11th ed.). Cambridge University Press. pp. 764–765. |
Lenormant, Charles (1847). François Gérard, peintre d'histoire: essai de biographie et de critique (2nd ed.). Paris: Adolphe René et compagnie. Retrieved 10 May 2009. A biography by Charles Lenormant. |
Gérard, Henri; Viollet-le-Duc, Adolphe (1867). Correspondance de François Gérard: peintre d'histoire, avec les artistes et les personnages célèbres de son temps. Paris: Adolphe Lainé et J. Havard. Retrieved 10 May 2009. A biography by Adolphe Viollet-le-Duc followed by François Gérard's correspondence collected by his ... |
Gérard, Henri (1888). Lettres adressées au baron François Gérard, peintre d'histoire, par les artistes et les personnages célèbres de son temps (3rd ed.). Paris: A. Quentin. Retrieved 10 May 2009. A different biography by his nephew Henri Gérard, 14 etched portraits, additional letters and notes. |
Notes |
External links |
Corinne at the Cape of Misena., the painting of 'Mme de Staël as her character Corrine' engraved by Joseph Goodyear for The Amulet annual, 1832. |
Frederic Edwin Church (May 4, 1826 – April 7, 1900) was an American landscape painter born in Hartford, Connecticut. He was a central figure in the Hudson River School of American landscape painters, best known for painting large landscapes, often depicting mountains, waterfalls, and sunsets. Church's paintings put an ... |
Biography |
Beginnings |
Frederic Edwin Church was a direct descendant of Richard Church, a Puritan pioneer from England who accompanied Thomas Hooker on the original journey through the wilderness from Massachusetts to what would become Hartford, Connecticut. Church was the son of Eliza (1796–1883) and Joseph Church (1793–1876). Frederic had... |
In 1848, he was elected the youngest Associate of the National Academy of Design. He was promoted to full member the following year and began to take in his own students including Walter Launt Palmer, William James Stillman and Jervis McEntee. |
Style and influences |
Romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the rationalism of the Age of Enlightenment. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature, sometimes with emphasis on its grand scale. This tradition ca... |
Church was the product of the second generation of the Hudson River School, a movement in American landscape art founded by his teacher Thomas Cole. Both Cole and Church were devout Protestants, and the latter's beliefs played a role in his paintings, especially his early canvases. Hudson River School paintings were ch... |
The Prussian explorer and scientist Alexander von Humboldt was a major influence on Church. In his Kosmos, Humboldt put forth a vision of the interconnectedness of science, the natural world, and spiritual concerns. Kosmos, which Church owned, dedicated a chapter to landscape painting; Humboldt gave an important role t... |
The English art critic John Ruskin was another important and big influence on Church. In Ruskin's Modern Painters, he emphasizes the close observation of nature: "the imperative duty of the landscape painter [is] to descend to the lowest details with undiminished attention. Every class of rock, every kind of earth, eve... |
Some of Church's paintings relate to, and influenced, the luminist landscape style as well. Luminist art tends to emphasize horizontals, use non-diffuse light, and hide brushstrokes such that the painter's presence, or "personality", is less apparent to the viewer. An exhibition book considers Church's Morning in the T... |
Career |
Church began his career by painting classic Hudson River School scenes of New York and New England, but by 1850, he had settled in New York. He exhibited his art at the American Art Union, the Boston Art Club, and (most impressively for a young artist) the National Academy of Design. His method consisted of creating p... |
Church quickly earned a reputation as a traveler-artist, with early domestic painting and sketching trips to the White Mountains, western Massachusetts, the Catskills, Hartford, Conn, Niagara, Virginia, Kentucky, and Maine. He made two trips to South America in 1853 and 1857 and stayed predominantly in Quito, visiting ... |
As he had with Niagara before, Church debuted The Heart of the Andes in a single-painting exhibition in New York City in 1859. Thousands of people paid to see the painting, with the painting's huge floor-based frame playing the part of a window looking out on the Andes. The audience sat on benches to view the piece, so... |
Church's friendship with Isaac Israel Hayes, a prominent arctic explorer, stimulated the artist's interest in the arctic regions. In 1859, Church and his good friend Rev. Louis Legrand Noble traveled to Newfoundland and Labrador. The journey was chronicled in Noble's book After Icebergs with a Painter (1861), published... |
By 1860, Church was the most renowned American artist. In his prime, Church was a commercial as well as an artistic success. Church's art was very lucrative; he was reported to be worth half a million dollars at his death in 1900. |
In 1861, at the start of the Civil War, Church was inspired to paint Our Banner in the Sky by a sunset featuring red, white, and blue that he believed was a symbol that "the heavens indicated their support for the United States by reflecting the nation's colors in the setting sun". A lithograph was made from it and sol... |
In 1863, he was elected an Associate Fellow of the American Academy of Arts and Sciences. |
Family, later travels, and Olana |
In 1860, Church bought a farm near Hudson, New York and married Isabel Mortimer Carnes (born 1836, of Dayton, Ohio), whom he had met during the New York exhibition of The Heart of the Andes. They soon started a family, but their two-year-old son Herbert and five-month-old daughter Emma both died of diphtheria in March ... |
In late 1867, Church began the longest period of travel of his career. That fall he and his family went to Europe, moving through London and Paris fairly quickly. From Marseille they went to Alexandria, Egypt, but Church did not visit the pyramids, perhaps being afraid to leave his family alone. Passing through Jaffa, ... |
Before departing the United States for that trip, Church purchased the 18 acres (7.3 ha) on the hilltop above his Hudson farmland, which he had long wanted for its magnificent views of the Hudson River and the Catskills. In 1870, he began the construction of a Persian-inspired mansion on the hilltop, and the family mov... |
Church had been enormously successful as an artist. In his last decades, illness limited Church's ability to paint. By 1876, Church was stricken with rheumatoid arthritis, making painting difficult. He eventually painted with his left hand and continued to produce works, although at a much slower pace. He still taught ... |
Spending time at Olana and in Mexico, Church was less exposed to trends in New York City. He kept a studio there into the 1880s, but it was usually sublet to Martin Johnson Heade. His wife Isabel had been ill for years, and she died on May 12, 1899, at the home of their late friend and patron, William H. Osborn, on Par... |
Legacy |
In the last decades of his life Church's fame dwindled, and by his death in 1900 there was little interest in his work. His paintings were seen as part of an "old-fashioned and discredited" school that was too devoted to details. His reputation improved with a 1945 exhibition devoted to the Hudson River School at the A... |
Church's legacy was rekindled; American museums began to acquire his works, and by 1979 Church's The Icebergs sold for $2.5 million, then the third-highest auction for any work of art. The next year the National Gallery of Art held a major exhibition, American Light: The Luminist Movement, 1825–1875, which positioned C... |
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