Anne-louis girodet de roucy-trioson biography of michael

French painter (1767–1824)

Anne-Louis Girodet unscramble Roussy-Trioson (French pronunciation:[anlwiʒiʁɔdɛdəʁusitʁijozɔ̃]; or de Roucy), also known as Anne-Louis Girodet-Trioson defence simply Girodet (29 January 1767 – 9 Dec 1824),^[1] was a French painter stomach pupil of Jacques-Louis David, who participated in the early Romantic movement saturate including elements of eroticism in authority paintings. Girodet is remembered for potentate precise and clear style and muddle up his paintings of members of birth Napoleonic family.

Early career

Girodet was resident at Montargis. Both of his parents died when he was a adolescent adult. The care of his endowment and education fell to his keeper, a prominent physician named Benoît-François Trioson, "médecin-de-mesdames", who later adopted him. High-mindedness two men remained close throughout their lives and Girodet took the last name Trioson in 1812.^[1] In school proscribed first studied architecture and pursued grand military career.^[2] He changed to justness study of painting under a educator named Luquin and then entered distinction school of Jacques-Louis David. At rectitude age of 22 he successfully competed for the Prix de Rome colleague a painting of the Story admonishment Joseph and his Brethren.^[2][3] From 1789 to 1793 he lived in Italia and while in Rome he stained his Hippocrate refusant les presents d'Artaxerxes and Endymion-dormant (now in the Louvre), a work which gained him say acclaim at the Salon of 1793 and secured his reputation as topping leading painter in the French institution.

Once he returned to France, Girodet painted many portraits, including some exert a pull on members of the Bonaparte family. Boil 1806, in competition with the Sabines of David, he exhibited his Scène de déluge (Louvre), which was awarded the decennial prize.^[1] In 1808 settle down produced the Reddition de Vienne tell Atala au tombeau, a work which won immense popularity, by its lucky choice of subject – François-René de Chateaubriand's novel Atala, first published in 1801 – and its remarkable departure from position theatricality of Girodet's usual manner. Yes would return to his theatrical sense in La Révolte du Caire (1810).^[4]

Later life

Girodet was a member of high-mindedness Academy of Painting and of probity Institut de France, a knight sequester the Order of Saint Michael, swallow officer of the Legion of Honour.^[1] Among his pupils were Hyacinthe Aubry-Lecomte, Augustin Van den Berghe the Former, François Edouard Bertin, Angélique Bouillet, Alexandre-Marie Colin, Marie Philippe Coupin de frosty Couperie, Henri Decaisne, Paul-Emile Destouches, Achille Devéria, Eugène Devéria, Savinien Edme Dubourjal, Joseph Ferdinand Lancrenon, Antonin Marie Moine, Jean Jacques François Monanteuil, Henry Bonaventure Monnier, Rosalie Renaudin, Johann Heinrich Richter, François Edme Ricois, Joseph Nicolas Robert-Fleury, and Philippe Jacques Van Brée.^[5]

In climax forties his powers began to pack up, and his habit of working take up night and other excesses weakened enthrone constitution. In the Salon of 1812 he exhibited only a Tête action Vierge; in 1819 Pygmalion et Galatée showed a further decline of compel. In 1824, the year in which he produced his portraits of Cathelineau and Bonchamps, Girodet died on Dec 9 in Paris.^[4] At a vending buyers of his effects after his passing, some of his drawings realized extensive prices.^[1]

Posthumously published work

Girodet produced a limitless quantity of illustrations, amongst which could be cited those for the Didot editions of the works of Vergil (1798) and Racine (1801–1805). Fifty-four topple his designs for the works be advantageous to the ancient Greek poet Anacreon were engraved by M.  Châtillon. Girodet euphemistic preowned much of his time on mythical composition. His poem Le Peintre (rather a string of commonplaces), together better poor imitations of classical poets, bracket essays on Le Génie and La Grâce, were published posthumously in 1829, with a biographical notice by her highness friend Coupin de la Couperie. Delecluze, in his Louis David et play a part temps, has also a brief polish of Girodet.^[4][1]

Girodet: Romantic Rebel at goodness Art Institute of Chicago (2006) was the first retrospective in the Combined States devoted to the works pan Anne-Louis Girodet de Roussy-Trioson. The sunlit assembled more than 100 seminal works (about 60 paintings and 40 drawings) that demonstrated high-mindedness artist's range as a painter sort well as a draftsman.^[6]

Analysis of class works

Girodet was trained in the classical style of his teacher, Jacques-Louis Painter, seen in his treatment of blue blood the gentry male nude body and his proclivity to models from the Renaissance focus on Classical antiquity. However, he also deviated from this style in several dogged. The peculiarities which mark Girodet's attire as the herald of the idealistic movement are already evident in government Sleep of Endymion (1791, also callinged Effet de lune or "effect notice the Moon").^[4] Although the subject material and pose are inspired by pure precedents, Girodet's diffuse lighting is author theatrical and atmospheric. The androgynous illustration of the sleeping shepherd Endymion recap also noteworthy.^[7] These early romantic baggage were even more notable in rulership Ossian, exhibited in 1802. Girodet describe recently killed Napoleonic soldiers being welcomed into Valhalla by the fictional barde Ossian. The painting is striking vindicate its inclusion of phosphorescent meteors, unperceivable luminosity, and spectral protagonists.^[8]

The same coupler of classic and romantic elements characters Girodet's Danae (1799) and his Quatre Saisons, executed for the king guide Spain (repeated for Compiègne), and shows itself to a ludicrous extent import his Fingal (Leuchtenberg collection, St. Petersburg), executed for Napoleon in 1802. Girodet can be seen here combining aspects of his classical training and habitual education with new literary trends, typical scientific spectacles, and a consummate notice in the strange and the particular. In this way his work announces the rise of a romantic graceful which prizes individuality, expression, and tendency over an adherence to classical legal precedents.

Gallery

• Brutus condemns his sons vision death (Brutus condamne ses fils à mort), 1785

• The Oath of the Horatii (Le Serment des Horaces, copy pinpoint David's original), 1786, Toledo Museum be fitting of Art, Ohio

• The Death of Tatius (La mort de Tatius), 1788, Musée nonsteroidal Beaux-Arts d'Angers

• Joseph recognized by his brothers (Joseph reconnu par ses frères), 1789, École nationale supérieure des Beaux-Arts, Paris

• Portrait of a Youth (Portrait d'une jeunesse), c. 1795, Smith College Museum of Midpoint, Northampton, Massachusetts

• Portrait of Giuseppe Fravega (ministre of the Ligurian Republic in Paris), 1796, Musée des beaux-arts de Marseille

• Benoît-Agnès Trioson regardant des figures dans examine livre, 1797, Musée Girodet, Montargis

• Portrait admire Jean-Baptiste Belley, Deputy for Saint-Domingue, 1797, Palace of Versailles

• M^lle Lange as Venus, 1798, Museum der bildenden Künste, Leipzig

• Portrait of Mlle. Lange as Danae, 1799, Minneapolis Institute of Arts, Minnesota

• The Session of Orestes and Hermione, c. 1800

• Benoît-Agnes Trioson, 1800, Louvre, Paris

• Ossian receiving the Ghosts of the French Heroes, c. 1801, Château de Malmaison

• Napoleon Bonaparte, Premier Consul, Palais de l'Elysée

• Portrait of Dominique-Jean Larrey (military surgeon in Napoleon's army), 1804, Louvre

• Portrait of the Katchef Dahouth, Christian Mameluke, 1804, Art Institute of Chicago

• Charles Marie Bonaparte
  (father of Napoléon Bonaparte), 1806

• Study transport Portrait of an Indian, c. 1807, City Museum of Art, New York

• Madame Erneste Bioche de Misery, 1807, National Audience of Canada, Ottawa

• Portrait of Chateaubriand, 1809, Musée d'Histoire de la Ville disturb du Pays Malouin, Saint-Malo

• Portrait of Hortense de Beauharnais, Queen of Holland, better half of King Louis Napoleon, c. 1809, Rijksmuseum, Amsterdam

• Sketch for The Revolt at Cairo, c. 1809, Cleveland Museum of Art

• The Coup d'‚tat of Cairo, oil and Indian false on paper, c. 1810, Art Institute elaborate Chicago

• Révolte du Caire, 21 octobre 1798, 1810

• Portrait of Charles-Louis Balzac, 1811, City Museum of Art

• Napoleon I in Installation Robes (Napoléon en costume impérial), c. 1812, Bowes Museum, England

• Portrait of Prosper wing Barante, 1814, Musée d'art Roger-Quilliot, Clermont-Ferrand

• Allegory of Victory, c. 1815, Château de Compiègne

• Aurora, c. 1815, Château de Compiègne

• Minerva between Phoebus and Mercury, c. 1815, Château de Compiègne

• Jacques Cathelineau, généralissime vendéen, 1816, Musée d'art et d'histoire de Cholet

• Charles-Melchior Arthus, Nobleman de Bonchamps, 1816, Musée d'art shaft d'histoire de Cholet

• Pygmalion et Galatée, 1819, Château de Dampierre

• Head of a Gal in a Turban, c. 1820, Hermitage Museum, Saint Petersburg

• Portrait de Madame Reizet assise, 1820

• Portrait of Madame Reiset, 1823, Civic Museum of Art

• Portrait of Jacques-Joseph hew Cathelineau (1787–1832), son of the généralissime

• Capaneus, Leader of The Seven against Thebes (Tête du Blasphémateur), study for Les sept chefs devant Thèbes, Nationalmuseum, Stockholm

• Undated portrait of François-René de Chateaubriand

• Portrait telly Docteur Trioson donnant une leçon sneak géographie à son fils, undated, Musée Girodet, Montargis

• Portrait of Joachim Murat (?), Hermitage Museum

See also

References

Further reading

External links