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Artworks of oil painting old
master Jules Breton France 1827-1906 0 Le Pardon De Kergoat 0 The Recall of the Gleaners 0 The Vintage at Chateau Lagrange 4 Jules Breton (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 Jules Breton 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 Jules Breton 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 Jules Breton 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 Jules Breton 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 Jules Breton 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 Jules Breton The Last Gleanings by oil painting French paintings workshops 7 The Reapers 8 Young Women Going to a Procession |
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| Old oil painting artist Jules Breton |
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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. his
paintings were often regarded as containing
poetic references and his
compositions suggest a timeless world where
the workers of the field symbolically were
linked with literary elegies that evoked
their best qualities. Although works by Jules Breton were out of favor for a long
period of time, and his
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 defining
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
his poignant and poetic themes
painted with a compositional force and
sophistication of technique that clearly
places him amongst the greatest artists of
his time. Breton's paintings have
returned to public consciousness through
recent exhibitions and an interest in
collecting his 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 his 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 his youthful talent and persuaded his 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 Art 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 his 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 his artistic training at the Ecole des Beaux-Arts. - Jules Breton oil painting workshops, French oil paintings - Jules Breton oil painting workshop - oil painting Jules Breton Bio by oil painting workshops, French oil paintings workshop and French Jules Breton oil painting workshops. |
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Once there he 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 his early entries
at the Salon reflected not only their
influence, but also his concerns
for the poor brought to the fore by the
events of the 1848 Revolution. his 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 his 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 his future wife Elodie. Elodie,
who became one of Breton's favorite models,
was the daughter of Félix de Vigne, his 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 his 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). This 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. This award, and the
success of the painting among other artists
and the public, launched Breton's career;
his success continued throughout
the Second Empire and beyond. Jules Breton received
commissions from the State and his works were purchased by the French
Art Administration and sent to provincial
museums. his 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 his 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 his works were on view, Breton received a First Class Medal. As Breton continued to exhibit throughout the 1870s and into the 1880s and 1890s, his reputation was assured during the first thirty years of the Third Republic. Later in his career Breton continued his illustrations of peasant life, but in a manner more attuned to Symbolism than to Realism. his poetic renderings of single peasant female figures in a landscape, posed against the setting sun, remained extremely popular especially among American collectors. For example, his Song of the Lark (1884) is a favorite at the Chicago Art Institute. Because his works were so popular Breton often had to produce copies of some of his best loved images. Breton was extremely popular in his 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 his period not only in his native country, but also in England and in the United States. Jules Breton became a member of the Institut de France in 1886. Both his brother Emile (1831-1902), who was an architect by training, and his 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 his 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 his death in 1906, was highly regarded as a painter with a personal vision of rural life. his dedication to a section of the French countryside, his 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. - Jules Breton oil painting workshops, French oil paintings - Jules Breton oil painting workshop - oil painting Jules Breton Bio by oil painting workshops, French oil paintings workshop and French Jules Breton oil painting workshops. - Jules Breton oil painting workshops, French oil paintings - Jules Breton 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 Art, 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." Art
Magazine, vol. 55, November 1980, pp.
134-38. |
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