Author: Publisher:
ISBN:
Category :
Languages : en
Pages : 64
Book Description
Meissonier
Author: Meissonier
Author: John William MollettPublisher:
ISBN:
Category : Engraving, French
Languages : en
Pages : 110
Book Description
Meissonier
Author: Henri BarbussePublisher: Good Press
ISBN:
Category : Fiction
Languages : en
Pages : 41
Book Description
"Meissonier" by Henri Barbusse Jean-Louis-Ernest Meissonier was a French Classicist painter and sculptor famous for his depictions of Napoleon, his armies, and military themes. He documented sieges and maneuvers and was the teacher of Édouard Detaille. In this book, Barbusse takes the life of this historic man and crafts a fascinating reference of his work from his first moments of success to his paintings.
Meissonier
Author: Octave GréardMeissonier, His Life and His Art
Author: Jean Louis Ernest MeissonierPublisher: London : William Heinemann
ISBN:
Category : Art
Languages : en
Pages : 580
Book Description
Ernest Meissonier
Author: Constance Cain HungerfordPublisher:
ISBN: 9780521632409
Category : Art
Languages : en
Pages : 276
Book Description
This study documents the career of mainstream nineteenth-century artist, Ernst Meissonier.
The Judgment of Paris
Author: Ross KingPublisher: Anchor Canada
ISBN: 0307374963
Category : Art
Languages : en
Pages : 690
Book Description
Another fascinating book by the author of Brunelleschi’s Dome and Michelangelo and the Pope’s Ceiling: a saga of artistic rivalry and cultural upheaval in the decade leading to the birth of Impressionism. If there were two men who were absolutely central to artistic life in France in the second half of the nineteenth century, they were Edouard Manet and Ernest Meissonier. While the former has been labelled the “Father of Impressionism” and is today a household name, the latter has sunk into obscurity. It is difficult now to believe that in 1864, when this story begins, it was Meissonier who was considered the greatest French artist alive and who received astronomical sums for his work, while Manet was derided for his messy paintings of ordinary people and had great difficulty getting any of his work accepted at the all-important annual Paris Salon. Manet and Meissonier were the Mozart and Salieri of their day, one a dangerous challenge to the establishment, the other beloved by rulers and the public alike for his painstakingly meticulous oil paintings of historical subjects. Out of the fascinating story of their parallel careers, Ross King creates a lens through which to view the political tensions that dogged Louis-Napoleon during the Second Empire, his ignominious downfall, and the bloody Paris Commune of 1871. At the same time, King paints a wonderfully detailed and vivid portrait of life in an era of radical social change. When Manet painted Dejeuner sur l’herbe or Olympia, he shocked not only with his casual brushstrokes but with his subject matter: top-hatted white-collar workers (and their mistresses) were not considered suitable subjects for ‘Art.’ Ross King shows how, benign as they might seem today, these paintings changed the course of history. The struggle between Meissonier and Manet to see their paintings achieve pride of place at the Salon was not just about artistic competitiveness, it was about how to see the world. Full of fantastic tidbits of information and a colourful cast of characters that includes Baudelaire, Courbet and Zola, with walk-on parts for Monet, Renoir, Degas and Cezanne, The Judgment of Paris casts new light on the birth of Impressionism and takes us to the heart of a time in which the modern French identity was being forged.
Meissonier: Reminiscences
Author: Vassili VerestchaginPublisher:
ISBN:
Category : Anarchism
Languages : en
Pages : 20
Book Description
Meissonier : Masterpieces in Colour Series
Author: Henri BarbussePublisher: FREDERICK A. STOKES COMPANY
ISBN:
Category :
Languages : en
Pages : 54
Book Description
Meissonier : Masterpieces in Colour Series When Jean-Louis-Ernest Meissonier was born at Lyons in 1815, under the fading light of an Imperial sunset, these were scarcely the ideas that predominated in the national school of French art. Pictorial art, to confine ourselves to that, had, both before and during the First Empire, achieved at most a lumbering and trammelled flight; and the influence of antiquity, so perceptible in the language as well as in the manners and fashions at the close of the Eighteenth Century, served only to confine the inspiration of artists more strictly within the bounds of classic tradition. Roman characters, Roman costumes, Roman virtues,—such was the ideal to which each debutant who did not revolt openly must make surrender! To be sure, the commanding figure of David gave a magnificent prestige to this rather cold and dishearteningly classic programme. But, like all great artists, David was exceptional; and he stands today as the only one who, in an epoch sadly poor in genius, produced a host of living masterpieces, to swell the lists of a school so artificial that it would now be forgotten, save as an echo of his name. It is true that, by way of ransom, he spent much time in painting vast canvases that today hold but a small place in his life work. On the threshold of the Nineteenth Century, in 1799, Eugène Delacroix was born. It was he who brought a new spirit into French painting and, single-handed, wrought a great revolution. Such is not destined to be the rôle of Meissonier! His was neither so tragic a struggle, nor so immense a triumph. Unlike Delacroix, he did not restore the Beautiful nor hand down new forms to glory. He succeeded none the less in inscribing his name in modest yet precise characters—that will long remain legible—upon the marble of the temple. How did the artist get his start? According to the monotonous and mournful formula, “after a hard struggle.” The lives of all beloved and admired artists have this in common with fairy tales: they always begin badly and end happily (unluckily, they sometimes end a long time after the death of the principal hero!). The father of Meissonier was a dealer in colonial products and chemicals, and kept a drug and provision shop in the Rue des Ecouffes. Beneath the low ceiling of this shop and between walls lined with drawers, bearing strange labels, the childhood of Jean-Louis-Ernest was passed. His mother was a fragile woman. We are told further that she was sensitive to music and that she had learned to paint on porcelain and to make miniatures. Are we at liberty to attribute to the tender and brief contact of that mother, who died so young, with the life of her child, the origin of his artistic vocation? It is pleasant at least to fancy so and to try to believe it, even though we are told that parents bequeath to their children, not a vocation—a mysterious gift, of unknown origin—but rather a certain number of necessary aptitudes and qualities, which will enable them to profit by the gift, if perchance it falls to them from Heaven. Yet the fact remains that in the depths of a cupboard, in the house on the Rue des Ecouffes, there lay the paint-box which Mme. Meissonier once used, while taking miniature lessons from the authoritative hands of Mme. Jacottot. As joyously as other children would have appropriated a jar of jam, the boy possessed himself of the magic box, and on that selfsame day entered, with stumbling fingers, upon the laborious mission which was destined to cease only with his life.
J. L. E. Meissonier, H. R. A. His Life and Work
Author: Lionel RobinsonPublisher:
ISBN:
Category : Painters
Languages : en
Pages : 76
Book Description