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View artworks’ titles of oil painting old
master Breton Jules France 1827-1906 0 Le Pardon De Kergoat 0 The Recall of the Gleaners 0 The Vintage at Chateau Lagrange 4 Breton Jules (French) 1827 to 1906 Asleep In The Woods SnD 1877 by oil painting French paintings workshops 4 A la fontaine 4 Adolphe Aime Louis Bergere Dans Un Pre 4 Afternoon Repast 4 Breton Jules Harvesters by oil painting French paintings workshops 4 La Femme A L%20Ombrelle 4 Les Corbeaux Soir D Orage 4 Mise En Tas Des Oeillettes 4 Breton Jules Summer by oil painting French paintings workshops 4 Sur la Route en Hiver Artois 4 The Potato Harvest 4 The Rest of the Haymakers 4 Breton Jules The Song of the Lark by oil painting French paintings workshops 4 The Water Carrier |
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4 Young Woman in a Field 5 Juene Fille Gardant Des Vaches 5 Breton Jules L-Arc-En-Ciel by oil painting French paintings workshops 5 Les Vendanges A Chateau-Lagrange 5 Souvenir de dour Arnenez 5 Water Carriers 6 Breton Jules Evening in the Hamlet of Finistere by oil painting French paintings workshops 6 The Communicants 6 The Departure for the Fields 7 La Bergere 7 Breton Jules The Last Gleanings by oil painting French paintings workshops 7 The Reapers 8 Young Women Going to a Procession |
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| Biography of master old oil painting artist Jules Breton what we can copy |
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Jules Breton Also known as: Jules Adolphe Aimé Louis
Breton, Adolph Aime Louis |
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As one of the primary
academic painters of the nineteenth century,
Jules Breton evolved a painting style that
combined a realist selection of thematic
material with an interest in creating
figural types that reflected the idealism of
the classical traditions. Jules Breton’s
paintings were often regarded as containing
poetic references and Jules Breton’s
compositions suggest a timeless world where
the workers of the field symbolically were
linked with literary elegies that evoked
their best qualities. Although Jules
Breton’s works were out of favor for a long
period of time, and Jules Breton’s
compositions were often used as convenient
examples of so-called "bad-painting" by
supporters of the modernist camp who panned
any style whose goal was to portray the
trials of the human condition instead of
being dedicated to destroying the definiing
characteristics of great traditional art.
Breton's celebration of human values of
work, family, home and hearth did not fit
into their nihilistic paradigm, despite
Jules Breton’s poignant and poetic themes
painted with a compositional force and
sophistication of technique that clearly
places him amongst the greatest artists of
Jules Breton’s time. Breton's paintings have
returned to public consciousness through
recent exhibitions and an interest in
collecting Jules Breton’s works by private
patrons and museums. Jules Breton is an artist who has
benefitted greatly from the long over due
revisionist reappraisal of nineteenth
century academic painting. |
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| He received Jules Breton’s first artistic training not far from Courrières at the College St. Bertin near St. Omer. Later (1842) Jules Breton met the painter Félix de Vigne (1806-1862) who was impressed by Jules Breton’s youthful talent and persuaded Jules Breton’s family to let him study art. In 1843, Breton left for Ghent (Belgium) where Jules Breton continued to study art at the Academy of Fine Arts with de Vigne, and an other teacher from the school, the painter Hendrik Van der Haert (1790-1846). Sometime later (1846), Breton moved to Antwerp where Jules Breton took lessons with Baron Gustaf Wappers; Jules Breton also spent much of Jules Breton’s time copying the works of Flemish masters. Trained as an academic artist, Breton was well aware of other artistic tendencies such as the role of genre painting. In 1847, Breton finally left for Paris where Jules Breton hoped to perfect Jules Breton’s artistic training at the Ecole des Beaux-Arts. - Breton Jules oil painting workshops, French oil paintings - Breton Jules oil painting workshop - oil painting Breton Jules Bio by oil painting workshops, French oil paintings workshop and French Breton Jules oil painting workshops. |
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Once there Jules Breton studied in the atelier of the
genre painter Michel-Martin Drolling (1786-
1851). Jules Breton also met, and became friends, with
several of the Realist painters (François
Bonvin, 1817-1887 and Gustave Brion,
1824-1877) and Jules Breton’s early entries
at the Salon reflected not only their
influence, but also Jules Breton’s concerns
for the poor brought to the fore by the
events of the 1848 Revolution. Jules
Breton’s paintings Misery and Despair (1848)
shown at the Salon of 1849, and Hunger
(1850) shown at the Salon of 1850-51, are
representative of Breton's state of mind at
the time and of Jules Breton’s artistic
preoccupations. Both paintings were
destroyed. After Hunger was successfully
shown in Brussels and Ghent, Breton was
encouraged to move to Belgium where Jules
Breton met
Jules Breton’s future wife Elodie. Elodie,
who became one of Breton's favorite models,
was the daughter of Félix de Vigne, Jules
Breton’s early teacher; they were married in
1858. Breton returned to France in 1852. In
1853 Jules Breton exhibited Return of the Reapers, the
first of numerous rural peasant scenes based
on Jules Breton’s awareness of contemporary
themes and influenced by the works of the
Swiss painter Léopold Robert (1794-1835).
Breton's interest in peasant imagery was,
from then on, well-established and what
Jules Breton is best known for today. In 1854, Breton
returned to the village of Courrières where
Jules Breton settled. Once there, Jules
Breton began The
Gleaners (now in the Dublin National
Gallery). TJules Breton’s work was inspired
by seasonal field labor and the plight of
the less fortunate who were left to gather
what remained in the field after the
harvest. The Gleaners received a third class
medal. TJules Breton’s award, and the
success of the painting among other artists
and the public, launched Breton's career;
Jules Breton’s success continued throughout
the Second Empire and beyond. Jules Breton received
commissions from the State and Jules
Breton’s works were purchased by the French
Art Administration and sent to provincial
museums. Jules Breton’s painting Blessing of
the Wheat, Artois (Musée d'Orsay, Paris),
completed in 1857 and exhibited at the Salon
of the same year, brought a second class
medal and was purchased by M. de
Nieuwerkerke for the Imperial Museums. Many other paintings from the 1850s: Recall of the Gleaners (Musée d'Orsay, Paris) or Dedication of a Calvary (Lille, Musée des Beaux-Arts), both shown at the 1859 Salon, continued to illustrate Jules Breton’s tranquil vision of field labor influenced by the painters of the Italian Renaissance. In 1861, Breton received the Legion of Honor for such works as The Colza (1860), now in the Corcoran Gallery in Washington, DC. The 1860s saw a continuation of Breton's dedication to rural themes, but Jules Breton moved away from concentrating only on peasant life around Courrières to include views of other French regions such as the south of France in Grape Harvest (Salon of 1864), or Brittany with The Great Pilgrimage, 1869. At the 1867 Universal Exhibition, where ten of Jules Breton’s works were on view, Breton received a First Class Medal. As Breton continued to exhibit throughout the 1870s and into the 1880s and 1890s, Jules Breton’s reputation was assured during the first thirty years of the Third Republic. Later in Jules Breton’s career Breton continued Jules Breton’s illustrations of peasant life, but in a manner more attuned to Symbolism than to Realism. Jules Breton’s poetic renderings of single peasant female figures in a landscape, posed against the setting sun, remained extremely popular especially among American collectors. For example, Jules Breton’s Song of the Lark (1884) is a favorite at the Chicago Art Institute. Because Jules Breton’s works were so popular Breton often had to produce copies of some of Jules Breton’s best loved images. Breton was extremely popular in Jules Breton’s own time, the numerous compositions Jules Breton exhibited at the Salons and the fact that they were widely available as engravings, made him one of the best known painters of Jules Breton’s period not only in Jules Breton’s native country, but also in England and in the United States. Jules Breton became a member of the Institut de France in 1886. Both Jules Breton’s brother Emile (1831-1902), who was an architect by training, and Jules Breton’s daughter Virginie (1859-1935), were also painters. In addition to being a painter, Breton was also a recognized writer who published a volume of poems and several editions of prose related to Jules Breton’s life as an artist or to the lives of other artists that Jules Breton personally knew. Thus, in several ways, Jules Breton, at the time of Jules Breton’s death in 1906, was highly regarded as a painter with a personal vision of rural life. Jules Breton’s dedication to a section of the French countryside, Jules Breton’s absorption of traditional methods of painting, and the creation of a popular style, helped make Jules Breton one of the primary transmiters of the beauty and idyllic vision of rural existence. - Breton Jules oil painting workshops, French oil paintings - Breton Jules oil painting workshop - oil painting Breton Jules Bio by oil painting workshops, French oil paintings workshop and French Breton Jules oil painting workshops. - Breton Jules oil painting workshops, French oil paintings - Breton Jules oil painting workshop - oil painting Breton Jules Bio by oil painting workshops, French oil paintings workshop and French Breton Jules oil painting workshops. Selected Bibliography: Richard Heath, "Jules Breton, Painter and Poet." The Art Journal, vol 10, October 1885, pp. 289-92. Emmanuel Ducros, "Jules Breton." L'Artiste, September 1885, pp. 212-26. Marius Chaumelin, Portraits d'artistes. E. Meissonier. J. Breton, Paris, 1887. Jean-Paul Clarens, "Jules Breton, peintre et poète." Revue Artistique et Littéraire, January 1888. Garnet Smith, "Jules Breton: Painter of Peasants." The Magazine of Art, vol. 16, 1893, pp. 409-416. Pierre Gauthiez, "Un peintre écrivain: Jules Breton." Revue de l'Art Ancien et Moderne, vol. 4, September 10, 1898, pp. 201-216. Maurice Vachon: Jules Breton (Paris, 1899). Gabriel Mourey, "Jules Breton 1827-1906." Les Arts, vol 5, December 1904, pp. 30-36. Madeleine Fiddell-Beaufort, "Fire in a Haystack by Jules Breton." Bulletin of the Detroit Institute of Art, vol. 57, 1979, pp. 55-63. The Realist Tradition: French Painting and Drawing, 1830-1900, ex. cat., ed. Gabriel P. Weisberg, Cleveland: Cleveland Museum of Art, 1980. |
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Gabriel P.
Weisberg, "Vestiges of the Past: The
Brittany 'pardons' of late
nineteenth-century French painters." Arts
Magazine, vol. 55, November 1980, pp.
134-38. |
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