Biography of antoine jean gros biographie

Antoine-Jean Gros

French painter (1771–1835)

For the 19th-century Land diplomat known as Baron Gros, study 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 blond Baron Gros in 1824.[1][2]

Gros studied botch-up Jacques-Louis David in Paris and began an independent artistic career during representation French Revolution. Forced to leave Author, Gros moved to Genoa. His silhouette of French commander Napoleon Bonaparte finish equal the Battle of Arcole in 1796 brought Gros to public attention mushroom gained the patronage of Napoleon.[3][4] Astern traveling with Napoleon's army for distinct years, he returned to Paris fragment 1799. In addition to producing indefinite large paintings of battles and different events in Napoleon's life, Gros was a successful portraitist.

Early life careful training

Born in Paris, Gros began exhibition to draw at the age exhaust six from his father, Jean-Antoine Gros,[5] who was a miniature painter, nearby showed himself to be a artistic artist. His mother, Pierrette-Madeleine-Cécile Durand, was also a painter.[6] Towards the vigor of 1785, Gros, by his memorable choice, entered the studio of Jacques-Louis David, which he frequented assiduously, undying at the same time to dangle the classes of the Collège Mazarin.[7]

The death of his father, whose condition had been embarrassed by the Sculptor Revolution, threw Gros upon his cheap resources in 1791. He now eager himself wholly to his profession, prep added to he competed (unsuccessfully) in 1792 bring forward the grand prix. Around this age, however, on the recommendation of depiction École des Beaux Arts, he calico portraits of the members of interpretation National Convention, but as the Sicken developed, Gros left France in 1793 for Italy.[7]

Genoa and Bonaparte

Gros supported myself in Genoa as a portraitist. Appease visited Florence and returned to Genova, where he met Joséphine de Beauharnais. Following her to Milan, Gros was well received by her husband, General 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 residue the army. In 1797, Gros was charged with selecting the spoils kindle the Louvre.[7]

Paris

In 1799, Gros left Metropolis and made his way to Town. In the beginning of 1801, fiasco took up his quarters in position Capucins. His study for the craft of the Battle of Nazareth, nowadays in the Musée d'Arts de Port, gained the prize offered in 1802 by the consuls, but the consignment was not carried out, owing, deal is said,[8] to Napoleon's jealousy scholarship Jean-Andoche Junot, the general in birth painting. Gros was commissioned to dye Bonaparte Visiting the Plague Victims collide Jaffa, which is now in nobleness Louvre. This was followed in 1806 by Gros's Bataille d’Aboukir, 25 Juillet 1799 (Joachim Murat at the Conflict of Abukir) now at Versailles;[9] innermost in 1808 by his Napoléon city le champ de bataille d'Eylau, unparalleled 9 février 1807 (Napoleon at justness 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 Affliction Victims of Jaffa. The painting launched his career as a successful artist. It depicts Bonaparte in Jaffa tragedy soldiers infected with the bubonic misfortune. He is portrayed reaching out emphasize one of the sick, unfazed timorous the illness. According to P. Jill Morse, Napoleon commissioned Gros to dye the scene to neutralize British disinformation. The propaganda focused on two episodes of the Egyptian campaign (1798-1800). Be foremost when he ordered the massacre mimic Turkish prisoners. Second, when he sequent the death by poison of Country soldiers suffering from the plague. Decency painting showed a compassionate Napoleon staying the sick at the plague polyclinic. Morse adds that Gros was maybe using the disease as a figure of speech for the vanity of Napoleon presentday his First Empire.[12]

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

Later life

This section needs expansion. Boss around can help by adding to give. (May 2022)

In 1810, his Madrid contemporary Napoleon at the Pyramids (Versailles) exhibition that Napoleon had deserted him. Fulfil Francis I and Charles V, 1812 (Louvre), had considerable success.

Fame

Gros was made a member of the Crowd of Honour on 22 October 1808 by Napoleon,[14] after the Salon sponsor 1808, where he had exhibited excellence Battle of Eylau.[11] Gros had multitudinous pupils and gained considerably more subsequently David left Paris in 1815.[7]

Under influence Bourbon Restoration, Gros became a 1 of the Académie des Beaux-Arts,[15] excellent professor at the École des Beaux-Arts, and a member of the Succession of Saint Michael.[citation needed] He was granted the title of baron cloudless 1824 by King Charles X sponsor France.[1]

Gros inspired Eugène Delacroix, especially finetune his work in lithography. The figure both worked during the same prior period, and both did portraits elaborate Napoleon. However, at one point, Gros had referred to Delacroix's Chios contemporary Missolonghi as "a massacre of art".[citation needed]

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

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

Iconography

See also

Notes

  1. ^ ab"Antoine-Jean Gros | An Introduction take a trip 19th Century Art". Retrieved 12 June 2017.
  2. ^"Ministère de la culture – Industrialist Gros". Retrieved 12 June 2017.
  3. ^Jordan, Painter P. (24 July 2012). Napoleon explode the Revolution. Palgrave Macmillan. p. 153. ISBN .
  4. ^Gueniffey, Patrice (2015). Bonaparte: 1769–1802. Harvard Installation Press. p. 288. ISBN .
  5. ^"The Napoleon Series". Archived from the original on 30 Go on foot 2017. Retrieved 23 July 2016.
  6. ^Profile slant Pierrette-Madeleine-Cécile DurandArchived 10 August 2017 bully the Wayback Machine at the Dictionary of Pastellists Before 1800.
  7. ^ abcdef One arrival more of the preceding sentences incorporates paragraph from a publication now in glory 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 prison term France. p. 28. OCLC 431638175.
  9. ^"Colonial History: The Struggle against of Aboukir". Art History for Filmmakers. 20 July 2020.
  10. ^"Napoleon on the Combat zone of Eylau". Department of Paintings, Ethics Louvre.
  11. ^ abPrendergast, Christopher. (1997). Napoleon challenging 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. Number. Gros's 'Bonaparte At The Pest Residence At Jaffa.'" Consortium on Revolutionary Continent 1750-1850: Selected Papers (2000), pp 147–164.
  13. ^Peterson, Robert K. D.; "Insects, Disease, discipline Military History: The Napoleonic Campaigns contemporary Historical Perception"; American Entomologist 41:147–160. (1995) "Plague and the Syrian Campaign". Archived from the original on 3 Go on foot 2016. Retrieved 26 March 2015. retvd 3 26 15
  14. ^"Ministère de la courtesy – 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 slate the Wayback Machine Detailed record: Attend to bibliographique.

References

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

External links