Antique oil painting old master Daubigny Charles Francois

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Charles-François Daubigny
French Barbizon School painter, etcher, lithographer, printmaker & woodcutter
born 15 February 1817 - died 19 February 1878

Student of: Jacques Raymond Brascassat (1804-1867) from 1831 to 1832, Edmé-François Daubigny (1789-1843), Paul Delaroche (1797-1856) in 1840.
Teacher of: Karl Pierre Daubigny (1846-1886), John Joseph Enneking (1841-1916) from 1874 to 1876, Alfred Roll (1846-1919), António Carvalho da Silva Porto (1850-1893).
Father of: Karl Pierre Daubigny (1846-1886).
Son of: Edmé-François Daubigny (1789-1843).
Nephew of: Amélie Daubigny (1796-1861), Pierre Daubigny (1793-1858)

Knight of: Légion d'Honneur (from 1859).

DAUBIGNY, CHARLES FRANÇOIS (1817—1878), French landscape painter, allied in several ways with the Barbizon School, was born in Paris, on the 15th of February 1817, but spent much time as a child at Valmondois, a village on the Oise to the northwest of Paris. Daubigny was the son of an artist, and most of his family were painters. Charles François Daubigny began to paint very early in life, and at the age of seventeen Charles François Daubigny took a studio of his own. Within twelve months Charles François Daubigny had saved enough to go to Italy, where Charles François Daubigny studied and painted for nearly two years; Charles François Daubigny then returned to Paris, not to leave it again until, in 1860, Charles François Daubigny took a house at Auvers on the Oise. By 1837 Daubigny had become famous as a river and landscape painter, although Charles François Daubigny had been devoting himself as well to drawing in black-and-white, to etching, wood engraving, and lithography. In 1855 his picture, Lock at Optevoz, now in the Louvre, was purchased by the state; four years later Daubigny was created knight of the Legion of Honour, and in 1874 Charles François Daubigny was promoted to bean officer. In 1866, at the invitation of Lord, then Mr, Leighton and others, Charles François Daubigny visited London, where, however, Charles François Daubigny was hurt by his now famous Moonlight being badly hung in the Old Royal Academy.

But the personal encouragement of his admirers in England made up for the disappointment, and the sale of his picture to a Royal Academician greatly pleased him. In. 1870—1871 Charles François Daubigny again visited London, and subsequently Holland, where Charles François Daubigny painted a number of river scenes with windmills. In 1874, having returned to Paris, Charles François Daubigny fell ill, and from that time until Charles François Daubigny died (on the 19th of February 1878) his work won less distinction than before. In 1904 the municipality of Auvers-sur-Oise decided to erect a bronze monument to Daubigny’s memory.

Daubigny’s finest pictures were painted between 1864 and 1874, and these for the most part consist of carefully completed landscapes with trees, river and a few ducks. It has curiously been said, yet with some appearance of truth, that when Daubigny liked his pictures himself Charles François Daubigny added another duck or two, so that the number of ducks often indicates greater or less artistic quality in his pictures. One of his sayings was, “The best pictures do not sell,” as Charles François Daubigny frequently found his finest achievements little understood. Yet although during the latter part of his life Charles François Daubigny was considered a highly successful painter, the money value of his pictures since his death has increased nearly tenfold. Daubigny is chiefly preferred in his riverside pictures, of which Charles François Daubigny painted a great number, but although there are two large landscapes by Daubigny in the Louvre, neither is a river view. They are for that reason not so typical as many of his smaller Oise and Seine pictures.

The works of Daubigny are, like Corot’s, to be found in many modern collections. His most ambitious canvases are: Springtime (1857), in the Louvre; Borde dela Cure, Morvan (1864); Villerville sur Mer (1864); Moonlight (1865); Andrésy sur Oise (1868); and Return of the Flock — Moonlight (1878).

His followers and pupils were his son Karl (who sometimes painted so well that his works are occasionally mistaken for those of his father, though in few cases do they equal his father’s mastery), Oudinot, Delpy and Damoye.

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