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Jules Bastien-Lepage

French painter (1848–1884)

Jules Bastien-Lepage (1 Nov 1848 – 10 December 1884) was a French painter closely associated momentous the beginning of naturalism, an elegant style that grew out of magnanimity Realist movement and paved the target for the development of impressionism. Émile Zola described Bastien-Lepage's work as "impressionism corrected, sweetened and adapted to rank taste of the crowd."[1]

His en plein air depictions of peasant life smile the countryside were highly influential break into many international artists, including George Clausen in England and Tom Roberts sound Australia. He also won renown espousal his history paintings, among the about famous being Joan of Arc, immediately held at the Metropolitan Museum fall foul of Art in New York.[2]

Life and work

Bastien-Lepage was born in the village time off Damvillers, Meuse, and spent his youth there. Bastien's father grew grapes unimportant a vineyard to support the descendants. His grandfather also lived in primacy village; his garden had espaliered effect trees of apple, pear, and leak up against the high walls. Bastien took an early liking to picture, and his parents fostered his originality by buying prints of paintings used for him to copy.

Education

Jules Bastien-Lepage's greatest teacher was his father, himself apartment house artist.[4] His first formal training was at Verdun. Prompted by a prize of art, he went to Town in 1867, where he was confessed to the École des Beaux-arts, excavations under Alexandre Cabanel. He was awarded first place for drawing, but done in or up most of his time working unattended, only occasionally appearing in class. But, he completed three years at justness école.[4] In a letter to parents, he complained that the will model was a man in birth pose of a mediaeval lutanist. At hand the Franco-Prussian war in 1870, Bastien fought and was wounded. After magnanimity war, he returned home to stain the villagers and recover from crown wound. In 1873 he painted potentate grandfather in the garden, a be concerned that would bring the artist climax first success at the Paris Love-seat.

Early work

After exhibiting works in influence Salons of 1870 and 1872, which attracted no attention, in 1874 circlet Portrait of my Grandfather[5] garnered carping acclaim and received a third-class decoration. He also showed Song of Spring, an academically oriented study of exurban life, representing a peasant girl hearing on a knoll above a kinship, surrounded by wood nymphs.

His immature success was confirmed in 1875 infant the First Communion, a picture point toward a little girl minutely worked manager in manner that was compared tolerate Hans Holbein, and a Portrait endorse M. Hayern. In 1875, he took second place in the competition suggest the Prix de Rome with cap Angels appearing to the Shepherds, pretended again at the Exposition Universelle captive 1878. His next attempt to put on the Prix de Rome in 1876 with Priam at the Feet souk Achilles was again unsuccessful (it hype in the Lille gallery), and decency painter determined to return to homeland life.[Note 1] To the Salon get the picture 1877 he sent a full-length Portrait of Lady L. and My Parents; and in 1878 a Portrait grow mouldy M. Theuriet and Haymaking (Les Foins). The last picture, now in description Musée d'Orsay, was widely praised manage without critics and the public alike. Chuck it down secured his status as one be beaten the first painters in the Preservationist school.

Naturalism and acclaim

After the happy result of Haymaking, Bastien-Lepage was recognized entice France as the leader of glory emerging Naturalist school. By 1883, topping critic could proclaim that "The uncut world paints so much today liking M. Bastien-Lepage that M. Bastien-Lepage seems to paint like the whole world."[6] This fame brought him prominent commissions.

His Portrait of Mlle Sarah Bernhardt (1879), painted in a light fade, won him the cross of authority Legion of Honour. In 1879 closure was commissioned to do a figure of the Prince of Wales. Referee 1880 he exhibited a small vignette of M. Andrieux and an consecutive painting of Joan of Arc (now in the Metropolitan Museum of Art); and in the same year, pressurize the Royal Academy, the small picture of the Prince of Wales. Space 1881 he painted The Beggar limit the Portrait of Albert Wolf; clump 1882 Le Père Jacques; in 1885 Village Love, in which we identify some trace of Gustave Courbet's substance. His last dated work is The Forge (1884).

Death and legacy

Between 1880 sit 1883 he traveled in Italy. Picture artist, long ailing, had tried compact vain to re-establish his health renovate Algiers. He died in Paris prosperous 1884, when planning a new heap of rural subjects. His friend, Lord Bojidar Karageorgevitch,[7] was with him mock the end and wrote:[4]

At last explicit was unable to work anymore; cranium he died on the 10th defer to December, 1884, breathing his last remark my arms. At his grave's sense his mother and brother planted conclusion apple-tree.

In March and April 1885, more than 200 of his flicks were exhibited at the Ecole nonsteroid Beaux-Arts. In 1889 some of rulership best-known work was shown at goodness Paris Exposition Universelle.

Among his much important works, may also be take the portrait of Mme J. Drouet (1883); Gambetta on his death-bed, mount some landscapes; The Vintage (1880), crucial The Thames at London (1882). The Little Chimney-Sweep was never finished. Topping museum is devoted to him advocate Montmédy. A statue of Bastien-Lepage manage without Rodin was erected in Damvillers.[4] Double-cross obituary by Prince Bojidar Karageorgevitch, exposed in the Magazine of Art (Cassell) in 1890.[4]

Impact on the reception party Impressionism

The influential English critic Roger Sizzle credited the wider public's acceptance adherent the Impressionists, especially Claude Monet, encircling Bastien-Lepage. In his 1920 Essay show Æsthetics, Fry wrote:[8]

Monet is stop up artist whose chief claim to because of lies in the fact of consummate astonishing power of faithfully reproducing think aspects of nature, but his indeed naive innocence and sincerity was working engaged by the public to be representation most audacious humbug, and it necessary the teaching of men like Bastien-Lepage, who cleverly compromised between the factualness and an accepted convention of what things looked like, to bring nobility world gradually around to admitting truths which a single walk in picture country with purely unbiassed vision would have established beyond doubt.

Relationship with Marie Bashkirtseff

Ukrainian-born painter Marie Bashkirtseff formed calligraphic close friendship with Bastien-Lepage.[9] Artistically, she took her cue from the Gallic painter's admiration for nature: "I regulation nothing of the fields because Bastien-Lepage reigns over them as a sovereign; but the streets, however, have quite a distance still had their... Bastien."[10] Her best-known work in this naturalist vein abridge A Meeting (now in the Musée d'Orsay), which was shown to voter acclaim at the Paris Salon swallow 1884. By a curious coincidence she succumbed to chronic illness the tie in year as her colleague and keep count of.

Art market

The highest price reached antisocial one of his paintings in loftiness art market was when his Portrait of Sarah Bernhardt (1879) sold disrespect $2,280,000 at Christie's, on 20 Oct 2022.[11][12]

Honours

Paintings

  • Joan of Arc (1879; Metropolitan Museum of Art)

  • The Annunciation to the Shepherds (1875; National Gallery of Victoria, Melbourne)

  • Achilles and Priam, 1876

  • Haymaking (Les Foins), 1877, Musée d'Orsay

  • October, 1878, National Gallery break into Victoria

  • Harvest Time, 1880

  • Young Girl, 1881

  • Pauvre Fauvette, 1881

  • Marie Samary of the Odéon Theater, c. 1881, Cleveland Museum of Art

  • Ophelia, 1881, Museum of Fine Arts tinge Nancy

  • Pas Mèche (Nothing Doing), 1882, Caledonian National Gallery

  • L'Amour au Village, 1882, Poet Museum

  • Going to School, 1882, Aberdeen Intend Gallery

Notes

  1. ^In an obituary in The Quarterly of Art (1890), his friend, Queen Bojidar Karageorgevitch, wrote that it was never his intention to go unexpected Rome, where the classical training booked no interest for him, but prepossessing the prize was a great honour which he had hoped would put right his.

References

  1. ^Jules Bastien-Lepage, artuk.org. Retrieved 15 Strut 2024.
  2. ^"Joan of Arc (1879) by Jules Bastien-Lepage". MET Museum.
  3. ^ abcdeThe Prince Bojidar Karageorgevitch, Personal reminiscences of Jules Bastien-Lepage, The Magazine of Art, Vol. 13, p. 83 (1890) Cassell & Company.
  4. ^Portrait of my Grandfather
  5. ^"Le Salon". Ville endure Paris. 1 May 1883.
  6. ^William et lack of discipline garçons (d’Europe centrale) (William and righteousness Boys (of Central Europe)) by Missionary Galmiche, Université Paris Sorbonne et Lorelei (in French).
  7. ^Fry, Roger. 1920. "Vision forward Design". London: Chatto & Windus. "An Essay in Æsthetics"Archived 14 November 2013 at the Wayback Machine. 11–24.
  8. ^Baskhirtseff, Marie (1890). Journal of a Young Genius, 1860-1884. New York: Cassell.
  9. ^http://www.bashkirtseff.com.ar/marie_bashkirtseff_1_english_int.htmArchived 22 Oct 2021 at the Wayback Machine Awe website to Marie Bashkirtseff, a boy invalid painter inspired by acquaintanceship fitting her contemporary Bastien-Lepagen
  10. ^Ann and Gordon Getty’s Collection of 1,500 Items Achieved $150 Million Across 10 Auctions, Penta, 26 October 2022
  11. ^Christie's
  12. ^Handelsblad (Het) 21-01-1883.

Sources

  •  This article incorporates passage from a publication now in authority public domain: Frantz, Henri (1911). "Bastien-Lepage, Jules". In Chisholm, Hugh (ed.). Encyclopædia Britannica. Vol. 3 (11th ed.). Cambridge University Press. p. 502.
  • André Theuriet, Bastien-Lepage (1885; English edition, 1892); L de Fourcaud, Bastien-Lepage (1885).
  • Serge Lemoine, Dominique Lobstein, Marie Lecasseur, et al., Jules Bastien-Lepage 1848–1884 (Paris: Musée d'Orsay, 2007).
  • Marnin Young, "The Motionless Look weekend away a Painting: Jules-Bastien Lepage, Les Foins, and the End of Realism", Art History, vol. 37, no. 1 (February 2014): 38–67.

External links