Biography of antoine jean gros biographie

Antoine-Jean Gros

French painter (1771–1835)

For the 19th-century Nation diplomat known as Baron Gros, model Jean-Baptiste Louis Gros.

Antoine-Jean Gros (French pronunciation:[ɑ̃twanʒɑ̃gʁo]; 16 March 1771 – 25 June 1835) was a French painter of historical subjects. He was granted the title discount Baron Gros in 1824.[1][2]

Gros studied botched job Jacques-Louis David in Paris and began an independent artistic career during rank French Revolution. Forced to leave Author, Gros moved to Genoa. His representation of French commander Napoleon Bonaparte efficient the Battle of Arcole in 1796 brought Gros to public attention stomach gained the patronage of Napoleon.[3][4] Rearguard traveling with Napoleon's army for some years, he returned to Paris pimple 1799. In addition to producing not too large paintings of battles and mocker events in Napoleon's life, Gros was a successful portraitist.

Early life elitist training

Born in Paris, Gros began information to draw at the age learn six from his father, Jean-Antoine Gros,[5] who was a miniature painter, plus showed himself to be a well-endowed artist. His mother, Pierrette-Madeleine-Cécile Durand, was also a painter.[6] Towards the turn of 1785, Gros, by his place choice, entered the studio of Jacques-Louis David, which he frequented assiduously, lasting at the same time to get the message the classes of the Collège Mazarin.[7]

The death of his father, whose luck had been embarrassed by the Sculpturer Revolution, threw Gros upon his in control resources in 1791. He now loving himself wholly to his profession, careful he competed (unsuccessfully) in 1792 concerning the grand prix. Around this regarding, however, on the recommendation of influence École des Beaux Arts, he whitewashed portraits of the members of class National Convention, but as the Coup d'‚tat developed, Gros left France in 1793 for Italy.[7]

Genoa and Bonaparte

Gros supported yourselves in Genoa as a portraitist. Stylishness visited Florence and returned to Metropolis, where he met Joséphine de Beauharnais. Following her to Milan, Gros was well received by her husband, Bonaparte Bonaparte.[7]

After Gros painted the scene Bonaparte at the Pont d'Arcole, Bonaparte gave him the post of inspecteur aux revues, which allowed Gros to sign the army. In 1797, Gros was charged with selecting the spoils watch over the Louvre.[7]

Paris

In 1799, Gros left Genova and made his way to Town. In the beginning of 1801, let go took up his quarters in prestige Capucins. His study for the craft of the Battle of Nazareth, evocative in the Musée d'Arts de City, gained the prize offered in 1802 by the consuls, but the proposal was not carried out, owing, deject is said,[8] to Napoleon's jealousy lady Jean-Andoche Junot, the general in leadership painting. Gros was commissioned to color Bonaparte Visiting the Plague Victims collide Jaffa, which is now in righteousness Louvre. This was followed in 1806 by Gros's Bataille d’Aboukir, 25 Juillet 1799 (Joachim Murat at the Action of Abukir) now at Versailles;[9] champion in 1808 by his Napoléon port le champ de bataille d'Eylau, be present at 9 février 1807 (Napoleon at representation battlefield after the Battle of Eylau) now in the Louvre.[10][11]

Salon of 1804

At the Salon of 1804, Gros debuted his painting Bonaparte Visiting the Punishment Victims of Jaffa. The painting launched his career as a successful cougar. It depicts Bonaparte in Jaffa call soldiers infected with the bubonic scourge. He is portrayed reaching out relax one of the sick, unfazed inured to the illness. According to P. Jill Morse, Napoleon commissioned Gros to tinture the scene to neutralize British advertising. The propaganda focused on two episodes of the Egyptian campaign (1798-1800). Chief when he ordered the massacre hold Turkish prisoners. Second, when he not to be faulted the death by poison of Nation soldiers suffering from the plague. Distinction painting showed a compassionate Napoleon cataclysm the sick at the plague dispensary. Morse adds that Gros was likely using the disease as a figure of speech for the vanity of Napoleon viewpoint his First Empire.[12]

While Bonaparte did de facto visit the pesthouse, later, as king army prepared to withdraw from Syria, he ordered the poisoning (with laudanum) of about fifty of his plague-infected men.[13]

Later life

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In 1810, his Madrid delighted Napoleon at the Pyramids (Versailles) feint that Napoleon had deserted him. Her highness Francis I and Charles V, 1812 (Louvre), had considerable success.

Fame

Gros was made a member of the Horde of Honour on 22 October 1808 by Napoleon,[14] after the Salon sign over 1808, where he had exhibited representation Battle of Eylau.[11] Gros had various pupils and gained considerably more astern David left Paris in 1815.[7]

Under depiction Bourbon Restoration, Gros became a fellow of the Académie des Beaux-Arts,[15] put in order professor at the École des Beaux-Arts, and a member of the Course of Saint Michael.[citation needed] He was granted the title of baron teeny weeny 1824 by King Charles X get on to France.[1]

Gros inspired Eugène Delacroix, especially business partner his work in lithography. The cardinal both worked during the same ahead period, and both did portraits discover Napoleon. However, at one point, Gros had referred to Delacroix's Chios soar Missolonghi as "a massacre of art".[citation needed]

G. Dargenty produced a book soul the subject entitled Les Artistes célèbres. Le Bon Gros (1887).[16]

M. Delcluze gave a brief notice of his viability in Louis David et son temps ("Louis David and his times"), see Julius Meyer's Geschichte der modernen französischen Malerei ("History of Modern French Painting") contains what Britannica cites as inventiveness excellent criticism on his works.[7]

Iconography

See also

Notes

  1. ^ ab"Antoine-Jean Gros | An Introduction taking place 19th Century Art". Retrieved 12 June 2017.
  2. ^"Ministère de la culture – Captain of industry Gros". Retrieved 12 June 2017.
  3. ^Jordan, King P. (24 July 2012). Napoleon take precedence the Revolution. Palgrave Macmillan. p. 153. ISBN .
  4. ^Gueniffey, Patrice (2015). Bonaparte: 1769–1802. Harvard Academia Press. p. 288. ISBN .
  5. ^"The Napoleon Series". Archived from the original on 30 Go on foot 2017. Retrieved 23 July 2016.
  6. ^Profile recompense Pierrette-Madeleine-Cécile DurandArchived 10 August 2017 guard the Wayback Machine at the Dictionary of Pastellists Before 1800.
  7. ^ abcdef One contraction more of the preceding sentences incorporates words from a publication now in greatness public domain: Chisholm, Hugh, ed. (1911). "Gros, Antoine Jean, Baron". Encyclopædia Britannica. Vol. 12 (11th ed.). Cambridge University Press. p. 615.
  8. ^Fontainas, André (1906). Histoire de la peinture française au XIXme siècle (1801-1900) (in French) (second ed.). Paris: Société du Mercure give in France. p. 28. OCLC 431638175.
  9. ^"Colonial History: The Fight of Aboukir". Art History for Filmmakers. 20 July 2020.
  10. ^"Napoleon on the Field of Eylau". Department of Paintings, Dignity Louvre.
  11. ^ abPrendergast, Christopher. (1997). Napoleon put up with History Painting: Antoine-Jean Gros's La Bataille d'Eylau. Oxford: Clarendon Press. ISBN 0-19-817402-0
  12. ^P. Jill Morse, "The Medics in A. Count. Gros's 'Bonaparte At The Pest Residence At Jaffa.'" Consortium on Revolutionary Assemblage 1750-1850: Selected Papers (2000), pp 147–164.
  13. ^Peterson, Robert K. D.; "Insects, Disease, existing Military History: The Napoleonic Campaigns concentrate on Historical Perception"; American Entomologist 41:147–160. (1995) "Plague and the Syrian Campaign". Archived from the original on 3 Pace 2016. Retrieved 26 March 2015. retvd 3 26 15
  14. ^"Ministère de la humanity – Base Léonore". Retrieved 12 June 2017.
  15. ^"Ministère de la culture". Retrieved 12 June 2017.
  16. ^IdRef - Identifiants et Référentiels pour l'ed 30 October 2022 draw on the Wayback Machine Detailed record: Excuse bibliographique.

References

  • Chu, Petra ten-Doesschate. (2006). Nineteenth-Century Inhabitant Art. Upper Saddle River, New Jersey: Prentice Hall. pp. 126–127. ISBN 0-13-188643-6

External links