Jules Louis Philippe Coignet was born in Paris in 1798 and died there in 1860. He was a noted landscape painter who had studied under Jean-Victor Bertin. He travelled a good deal in his own country as well as elsewhere in Europe and the East, and produced a considerable number of views. A regular exhibitor at the Paris Salon exhibitions, he was awarded a gold medal there in 1824 and was given state recognition by being made a Chevalier of the Legion of Honour in 1836.
As a painter, Coignet holds a middle place between the Idealists and the Realists, and his work is remarkable for the combination of vigour and delicacy in the effects of light and shade, for poetical feeling, for a firm brush, and occasionally for grandeur of conception. This is particularly evident in "The Ruins of the Temple of Paestum", now in Munich's Neue Pinakothek. [1] There are times too when his paintings have an atmospheric, almost Impressionist effect. One example is the coastal sunset in the Louvre; [2] another is the pastel "Grey weather over the sea" (1848) in the Dijon museum. [3]
Following the 1824 exhibition in Paris of John Constable's paintings, Coignet began painting outside in the forest of Fontainebleau and encouraged his students to do the same. One of his specialities was painting tree 'portraits', of which there are many examples, both as finished paintings and as sketches in oil paint. Two notable examples are the ancient oak, with a dolmen and meditating monk in the background, in the Quimper museum [4] and the dramatic "Oak tree and reeds" in the Musée Jean de La Fontaine at Château-Thierry. [5] As a pioneer of open air painting (la peinture en plein air ), Coignet has been counted a member of the Barbizon school, the artists associated with the village of Barbizon, where he had painted long before they settled there. In fact one of the minor members of this school, the genre painter Ferdinand Chaigneau , was a pupil of Coignet's.
In addition to producing many water-colours, pastels and etchings, he wrote a book on landscape painting and published in 1825 a series of sixty Italian views. Among his other pupils were Léo Drouyn , the Belgian landscapist Auguste Böhm and the orientalist Charles-Théodore Frère.
The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870. It takes its name from the village of Barbizon, France, on the edge of the Forest of Fontainebleau, where many of the artists gathered. Most of their works were landscape painting, but several of them also painted landscapes with farmworkers, and genre scenes of village life. Some of the most prominent features of this school are its tonal qualities, color, loose brushwork, and softness of form.
Narcisse Virgilio Díaz de la Peña was a French painter of the Barbizon school.
Étienne Pierre Théodore Rousseau was a French painter of the Barbizon school.
Jules Louis Dupré was a French painter, one of the chief members of the Barbizon school of landscape painters. If Corot stands for the lyric and Rousseau for the epic aspect of the poetry of nature, Dupré is the exponent of its tragic and dramatic aspects.
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Hubert Robert was a French painter in the school of Romanticism, noted especially for his landscape paintings and capricci, or semi-fictitious picturesque depictions of ruins in Italy and of France.
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Alexandre Calame was a Swiss landscape painter, associated with the Düsseldorf School.
The Château de Beauregard is a Renaissance château in the Loire Valley in France. It is located on the territory of the commune of Cellettes, a little south of the city of Blois and a few miles from other famous Loire châteaux such as Cheverny. Although still inhabited, it can be visited by tourists. The château is renowned for its gallery of portraits decorated in the 17th century with 327 portraits of famous people.
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The Oak and the Reed is one of Aesop's Fables and is numbered 70 in the Perry Index. It appears in many versions: in some it is with many reeds that the oak converses and in a late rewritten version it disputes with a willow.
The miller, his son and the donkey is a widely dispersed fable, number 721 in the Perry Index and number 1215 in the Aarne–Thompson classification systems of folklore narratives. Though it may have ancient analogues, the earliest extant version is in the work of the 13th-century Arab writer Ibn Said. There are many eastern versions of the tale and in Europe it was included in a number of Mediaeval collections. Since then it has been frequently included in collections of Aesop's fables as well as the influential Fables of Jean de la Fontaine.
Trees and Undergrowth is the subject of paintings that Vincent van Gogh made in Paris, Saint-Rémy and Auvers, from 1887 through 1890. Van Gogh made several paintings of undergrowth, a genre called "sous-bois" brought into prominence by artists of the Barbizon School and Impressionists. The works from this series successfully use shades of color and light in the forest or garden interior paintings. Van Gogh selected one of his Saint-Rémy paintings, Ivy (F609) for the Brussels Les XX exhibition in 1890.
Charles-René Laitié was a French sculptor.
Henri Guinier was a French portrait and landscape painter.
The Hotel de Berny Museum is a local history museum for the region of Picardy. It is located in Amiens. It is currently closed for building works. It is a Museum of France.
Prosper Barbot was a French landscape painter.
Charles-Caius Renoux was a French painter, lithographer, and illustrator. He first achieved success with paintings of medieval churches, particularly the ruins of cloisters and monasteries destroyed during the French Revolution, works for which he is still best known. Renoux also painted landscapes, large-scale battle scenes, and historical subjects, works which uniquely prepared him for the final phase of his career, the creation of spectacular dioramas, the “moving pictures” of the era. He also taught at the École des Beaux-Arts in Paris; his notable students included Narcisse Berchère and Hector Hanoteau.
Attribution:
This article incorporates text from a publication now in the public domain : Bryan, Michael (1886). "Coignet, Jules Louis Philippe". In Graves, Robert Edmund (ed.). Bryan's Dictionary of Painters and Engravers (A–K). Vol. I (3rd ed.). London: George Bell & Sons.| General | |
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