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Jules Breton
French Naturalist painter, author & poet
born 1 May 1827 - died 5 July 1906

Also known as: Jules Adolphe Aimé Louis Breton, Adolph Aime Louis
Student of: Martin Drolling (1752-1817) in 1847, Hendrik Van der Haert (1790-1846) in 1843, Félix de Vigne (1806-1862) in 1843, Baron Gustave Wappers (1803-1874) in 1846.
Brother of: Emile Breton (1831-1902).
Father of: Virginie Demont-Breton (1859-1935).
Friend of: François Bonvin (1817-1887), Gustave Brion (1824-1877).
Son-in-law of: Félix de Vigne (1806-1862) in 1858.

Member of: Institute of France (from 1886); Légion d'Honneur (from 1861).
Student at: Academy of Ghent (from 1843); College St. Bertin, Courrières.

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.

Jules Breton was from a rural region in the north western part of France. Jules Breton was born (May 1, 1827) and spent Jules Breton’s youth in Courrières, a small village in the Pas-de-Calais; Jules Breton died in Paris on July 5, 1906. Jules Breton’s father, Marie-Louis Breton worked for a wealthy landowner whose land Jules Breton supervised. After the death of Jules Breton’s mother, when Jules was 4, Jules Breton was brought up by Jules Breton’s father. Others in the family, who lived in the same house, and had a deep influence on the young artist's upbringing, were Jules Breton’s maternal grandmother and especially Jules Breton’s uncle Boniface Breton. All instilled in the young man a respect for tradition, a love of the land and, especially, for Jules Breton’s native region, which remained central to Jules Breton’s art throughout Jules Breton’s whole life providing the artist with many scenes for Jules Breton’s Salon compositions.

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.

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.

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.

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.
_______________, "Jules Breton's 'The Gleaners' of Courrières: A Traditional Aspect of Regional Life." Arts Magazine, vol. 55, January 1981, pp. 104-07.
Gabriel P. Weisberg and Annette Bourrut-Lacouture, "Jules Breton's The Grape Harvest at Château-Lagrange." Arts Magazine, vol. 50, January 1981, pp. 98-103.
Gabriel P. Weisberg, "Jules Breton, Jules Bastien-Lepage, and Camille Pissarro in the Context of Nineteenth-Century Peasant Painting and the Salon." Arts Magazine, vol. 56, February 1982, pp. 115-19.
Jules Breton and the French Rural Tradition, ex. cat., ed. H. Sturges, Omaha: Joslyn Art Museum, 1982.
Annette Bourrut-Lacouture, "Les Communiantes (1884) de Jules Breton et le thème de la procession: Genèse d'une oeuvre d'après des documents inédits." Bulletin de la Société d'Histoire de l'Art Français, 1985, pp. 175-200.

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