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Hortense Haudebourt-Lescot, born Antoinette Cécile Hortense Viel (14 December 1784 – 2 January 1845) was a French painter, mainly of genre and historical scenes. |
Biography |
She was born in Paris to Jean-Baptiste Viel, a perfumer, and his wife Cécile, née Lejeune. Her mother became a widow two years later and remarried; to Jean-Louis Lescot, a pharmacist. |
At the age of seven, she began her studies with Guillaume Guillon-Lethière, a popular history painter and family friend. When he was appointed director of the French Academy in Rome in 1807, she and several other artists followed him. They arrived in 1808, and she remained until 1816. There she depicted the customs and... |
Beginning in 1811, she sent her paintings to Paris, to be exhibited at the Salon. Her work attracted the attention of the Duchess of Berry who, in 1816, appointed her to be her personal painter. In 1820, she married the architect Louis-Pierre Haudebourt (1788-1849), with whom she had a son. Their home became a gatherin... |
As a teacher, Haudebourt-Lescot's pupils included the painters Herminie Déhérain and Marie-Ernestine Serret. |
She died in Paris on 2 January 1845. Her works may be seen at the Louvre Museum, the Musée des Augustins in Toulouse, and at the Musée Jean de La Fontaine. |
References |
Further reading |
Melissa Hyde, "Peinte par elle-même? Women artists, teachers and students from Anguissola to Haudebourt-Lescot", in Arts et Savoirs #6, 2016 Online |
Paul Menoux, "Le fameux salon d'Hortense Haudebourt-Lescot", in Dossier de l'art, March 2021, #286, p. 20-21 Online |
External links |
Media related to Hortense Haudebourt-Lescot at Wikimedia Commons |
Hubert Robert (French pronunciation: [ybɛʁ ʁɔbɛʁ]; 22 May 1733 – 15 April 1808) was a French painter in the school of Romanticism, noted especially for his landscape paintings and capricci, or semi-fictitious picturesque depictions of ruins in Italy and of France. |
Biography |
Early years |
Hubert Robert was born in Paris in 1733. His father, Nicolas Robert, was in the service of François-Joseph de Choiseul, marquis de Stainville a leading diplomat from Lorraine. Young Robert finished his studies with the Jesuits at the Collège de Navarre in 1751 and entered the atelier of the sculptor Michel-Ange Slodtz ... |
In Rome |
He spent fully eleven years in Rome, a remarkable length of time; after the young artist's official residence at the French Academy in Rome ran out, he supported himself by works he produced for visiting connoisseurs like the abbé de Saint-Non, who took Robert to Naples in April 1760 to visit the ruins of Pompeii. The... |
The contrast between the ruins of ancient Rome and the life of his time excited his keenest interest. He worked for a time in the studio of Giovanni Paolo Panini, whose influence can be seen in the Vue imaginaire de la galerie du Louvre en ruine (illustration). Robert spent his time in the company of young artists in t... |
He is reported to have carved his name into the walls of the Colosseum in 1767. |
In Paris |
His success on his return to Paris in 1765 was rapid: the following year he was received by the Académie royale de peinture et de sculpture, with a Roman capriccio, The Port of Rome, ornamented with different Monuments of Architecture, Ancient and Modern. Robert's first exhibition at the Salon of 1767, consisting of th... |
Robert was arrested in October 1793, during the French Revolution. During the ten months of his detention at Sainte-Pélagie and Saint-Lazare he made many drawings, painted at least 53 canvases, and painted numerous vignettes of prison life on plates. He was freed one week after the fall of Robespierre. Robert narrowly ... |
Subsequently, he was placed on the committee of five in charge of the new national museum at the Palais du Louvre. |
The Revolution also resulted in the destruction of some of Robert's work; his painting Péché Cardinal (ca.1799) is one that is thought to be lost or destroyed in a fire. Robert had designed the decorations for a little theatre in the new wing at the location of the current staircase Gabriel in the Palace of Versailles.... |
Robert died of a stroke on 15 April 1808. |
Style and legacy |
The quantity of his work is immense, comprising perhaps one thousand paintings and ten thousand drawings. The Louvre alone contains nine paintings by his hand and specimens are frequently to be met with in provincial museums and private collections. Robert's work has more or less of that scenic character which justifie... |
His work was much engraved by the abbé de Saint-Non, with whom he had visited Naples in the company of Fragonard during his early days; in Italy his work has also been frequently reproduced by Chatelain, Linard, Le Veau, and others. |
He is noted for the liveliness and point with which he treated the subjects he painted. Equally at ease painting small easel pictures or huge decorations, he worked quickly using an alla prima technique. Along with this incessant activity as an artist, his daring character and many adventures attracted general admirati... |
Robert and picturesque gardens |
Enterprising and prolific, Robert also acted in a role similar to that of a modern-day art director, conceptualizing fashionably dilapidated gardens for several aristocratic clients, summarized by his possible intervention at Ermenonville; there he would have been working with the architect Jean-Marie Morel for the mar... |
Though documents are again lacking, Hubert Robert's name is invariably invoked in connection with Marie Antoinette's 'premier architecte' Richard Mique through several phases of the creation of an informal landscape garden at the Petit Trianon, and the setting of the petit hameau. Robert's contribution to garden design... |
Gallery |
Works on paper |
Oil paintings |
References, notes and sources |
References and notes |
Sources |
Adams, William Howard, The French Garden 1500–1800 (New York: Braziller) 1979. |
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