Antique oil painting old master Dagnan Bouveret Pascal Adolphe Jean

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Pascal-Adolphe-Jean Dagnan-Bouveret
French Naturalist painter & printmaker
born 1852 - died 1929

Student of: Alexandre Cabanel (1823-1889), Jean-Baptiste-Camille Corot (1796-1875), Jean-Léon Gérôme (1824-1904).

As the dean of the nineteenth century academic naturalist tradition, and a painter who sponsored a fervent anti-modernist stance during his life-time, Pascal Adolphe Jean Dagnan-Bouveret, has been steadily coming back into public consciousness over the past fifteen years. Collectors have been drawn to the originality of his conceptions, the meticulousness of his style, and his ability to continue working in an academic mode well into the twentieth century in defiance of the modernist viewpoint. Clearly, Dagnan-Bouveret had a personal vision and this was at variance with the constant flux and change advocated by modernism.
Pascal-Adolphe-Jean Dagnan-Bouveret, was born in Paris on January 7, 1852 and Pascal Adolphe Jean Dagnan Bouveret died in Quincey, Haute-Saône on July 3d, 1929. Since his father, a tailor and businessman, left France in order to start a new life in Brazil, Dagnan-Bouveret was raised in Melun by his maternal grandfather Gabriel Bouveret, whose name Pascal Adolphe Jean Dagnan Bouveret added to his own in recognition of the care Pascal Adolphe Jean Dagnan Bouveret received from him. Dagnan-Bouveret was trained at the Ecole des Beaux-Arts (beginning in 1869) in the ateliers of Alexandre Cabanel and then Jean-Léon Gérôme; the latter's teaching remained the most dominant influence on Dagnan's work. One other artist, and a slightly older colleague, whose work had an impact on Dagnan's was the painter Jules Bastien-Lepage (1848-1884), who taught Dagnan the significance of using rural life as a contemporary theme.

Although Dagnan was a Parisian who kept an atelier in Neuilly (just outside Paris) for most of his career, Pascal Adolphe Jean Dagnan Bouveret married into a Franc-Comtois family. Pascal Adolphe Jean Dagnan Bouveret is always mentioned among a group of Franc-Comtois artists including Gustave Courtois (1852-1923) (a cousin of his wife), Louis Girardot (1856-1933), and Jules-Alexis Muenier (1863-1942) all of whom had been students of J.L. Gérôme, a painter who was also from the same general region of France. As a naturalist/regionalist Dagnan established his reputation with compositions representing the rural life of the Franche-Comté and of Brittany. These paintings made him one of the most respected members of an international naturalist circle that allowed Dagnan to have a very strong influence over other painters, working in a similar vein on the European continent, in England, and in America. It is only later in his career, first in the mid 1880s and then more dramatically in the 1890s, that Dagnan turned to religious themes. These became increasingly more visionary and supernatural during the early years of the 20th century. Spiritual themes reflected Dagnan's determined turn toward religious revivalism, a genre that obsessed many painters in the 1890s; it also reflected the powerful influence of his wife whose own devout Catholicism was influential in moving Dagnan toward some of his religious themes. Dagnan's spiritual paintings found strong support in the atmosphere of the Catholic Revival in France; his paintings such as the mystical Supper at Emmaus and the Consolatrix Afflictorum (Frick Art & Historical Center, Pittsburgh), among others, were exhibited in a separate location at the Paris World's Fair of 1900 at a moment when Dagnan's work was highly praised by the establishment. His paintings were also well recognized in the United States as they were reproduced in American periodicals, and collected by such independent tastemakers as George Baker, Mrs. Potter Palmer, and Henry Clay Frick. Dagnan was also a portraitist of talent and in his later years Pascal Adolphe Jean Dagnan Bouveret divided his activity between portraits and religious scenes. Pascal Adolphe Jean Dagnan Bouveret painted members of some of the best established families of the Third Republic; Pascal Adolphe Jean Dagnan Bouveret also did portraits of actresses (Mme. Bartet) and military leaders (Maréchal Foch).

Dagnan exhibited at the Salon des Artistes Français from 1877 (Atalante, Musée des Beaux-Arts in Melun) until 1889; and in 1890 Pascal Adolphe Jean Dagnan Bouveret began exhibiting at the Salon of the Société Nationale des Beaux-Arts where Pascal Adolphe Jean Dagnan Bouveret was one of the founding members. His first popular Salon success came with the anecdotal genre painting Une noce chez le photographe (1879) (Musée des Beaux-Arts, Lyon), but the works which established Dagnan-Bouveret's reputation are his naturalist scenes inspired by life in the Franche-Comté and Brittany including Un accident (1880) in the Walters Art Gallery, Baltimore, Chevaux à l'abreuvoir (1885) Musée des Beaux-Arts, Chambéry, Le Pardon en Bretagne (1887) at the Metropolitan Museum of Art, Bretonnes au Pardon (1889) in Lisbon in the Gulbenkian Collection, Le Concert dans la forêt in the collections of the Nancy Art Museum or Les Conscrits (1890) (Paris, Assemblée Nationale).

The latter work reiterated the intense nationalistic fervor of the period by centering the activities of recruitment on the strength and support of the rural areas of France - locations that remained totally behind the central government. The success of these paintings in the 19th century and the impact they still have for us today are in great part due to the influ ence of photography in their creation. As a student of Gérôme, Dagnan-Bouveret with many of his colleagues (Europeans and Americans) learned how to use photography as a tool to arrive at a more naturalistic, decidedly casual, rendering for the scenes of daily life. Dagnan-Bouveret was closely associated with J.-A. Muenier, a painter who also maintained a fervent interest in photography. Both men traveled to the Near East (Algeria) together, at the close of the 1880s (1887-1888), where they actively photographed numerous scenes in Algiers in order to feed their developing interest in orientalist themes. The photographic record of their trip together provides an extensive documentary foundation for seeing how these artists were able to use this medium. Understandably, Dagnan did not merely take photographs so that Pascal Adolphe Jean Dagnan Bouveret could copy them for his paintings. Rather, Pascal Adolphe Jean Dagnan Bouveret saw the new medium of photography as a creative tool which, when added to the academic tradition of painstaking preparation of a given composition, added significantly to the way in which Dagnan-Bouveret could increase the intricacy and exactitude of his compositions while reinforcing the general interest in reality.
Dagnan was also a pastellist and a member of the Société des Pastellistes. In addition to Paris and the European continent, Dagnan-Bouveret's works were exhibited in Chicago and in 1901 in a retrospective exhibition at the Art Institute of Chicago and several times in Pittsburgh (Carnegie Internationals) starting in 1896. Dagnan-Bouveret was also a member of the Foreign Advisory Committee for the Carnegie International from 1897 until 1908.
In addition to the influence Dagnan-Bouveret exerted on art students through his exhibitions or when they came to his studio in order to request his advice, Pascal Adolphe Jean Dagnan Bouveret came in contact with others at the Académie Colarossi where Pascal Adolphe Jean Dagnan Bouveret taught between 1885-1890 with G. Courtois. Dagnan-Bouveret received numerous awards throughout his career. They include: the second Prix de Rome in 1876, a third class medal at the Salon in 1878, and a first class medal in 1880. Pascal Adolphe Jean Dagnan Bouveret received the Legion of Honor in 1885 and the grade of Officer in 1891. Other French awards include the medal of honor from the Société des Artistes Français and the Universal Exposition in 1889, the medal and the Grand Prix at the 1900 Universal Exposition. Pascal Adolphe Jean Dagnan Bouveret became a member of the Institut de France in 1900. Foreign awards were also numerous. Foreign medals include: a gold medal in Munich and Ghent (1889), and a medal Hors concours at the 1893 Columbian Exposition in Chicago. His works have entered numerous French and European public collections, in addition to several north and south American collections. For example, in alphabetical order, his works can be studied in Arras, Musée des Beaux-Arts, in Baltimore at the Walters Art Gallery, in Beauvais in the Musée de Picardie, Besançon, Musée des Beaux-Arts, Boston, Museum of Fine Arts. Chambéry, Musée des Beaux-Arts, Cherbourg, Musée Thomas Henri. Chicago, Chicago Art Institute, the Cincinnati Art Museum, Dijon,

Musée des Beaux-Arts and Musée Magnin, Glasgow, Art Gallery & Museum,the Helsinki Ateneum, the Montreal Art Museum, Mulhouse, Musée des Beaux-Arts, at the Neue Pinakothek in Munich, the Pushkin Museum in Moscow, the Yale University Art Gallery in New Haven, in Paris at the Assemblée Nationale, the Comédie Française, the Orsay Museum, the Petit-Palais and the Sorbonne. Also in the Philadelphia Museum of Art, in Pittsburgh at the Carnegie Museum and the Frick Art & Historical Center, in Quimper, Musée Municipal, the church in Qincey (Haute-Saône), St. Petersburg at the Hermitage, in the Musée Georges Garret, Vesoul (Franche-Comté), and in the Sterling & Francine Clark Institute, Williamstown.

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