#Jean Baptiste Edouard Detaille

[oldsardens]

Jean Baptiste Edouard Detaille - A Mounted Officer

[antonio-m]

“Seated Male Nude”, late 19th century) by Jean Baptiste Edouard Detaille (1848-1912). French academic painter and military artist. oil on canvas

[buendischerwaldgang]

Jean Baptiste Edouard Detaille The Dragoon, 1896

[ex-frat-man]

Seated Male Nude, Jean Baptiste Edouard Detaille (1848–1912)

oil on canvas H 67.3 x W 81.2 cm

Collection of Nottingham City Museums & Galleries

[kaxen]

A French Hussar Leading a Horse by Jean-Baptiste Edouard Detaille

[creadoresdebelleza]

Jean-Baptiste Edouard Detaille: El trofeo, dragón del cuarto regimiento en 1806 durante la Batalla de Jena (1898).

[creativespark]

Jean-Baptiste Édouard Detaille (1848-1912), Reclining Male Nude, 1880

[illustratus]

'Le Trophée' French dragoon with captured Prussian flag at the Battle of Jena-Auerstedt, 1806 by Jean Baptiste Edouard Detaille

[royaumesoublies]

Le 14 octobre 1806, Napoléon remporte une victoire majeure à Iéna sur les Prussiens. Le même jour, le maréchal Davout gagne la bataille d’Auerstaedt.

En 1894, le peintre Jean-Baptiste-Edouard Detaille commémore la victoire de Iéna avec la toile “La victoire est à nous ! Soir d’Iéna, 1806”, exposée au musée de l’Armée.

(C) Paris - Musée de l'Armée, Dist. RMN-Grand Palais / image musée de l'Armée

[antonio-m]

'Seated Male Nude’, by Jean Baptiste Edouard Detaille (1848–1912). French artist. Nottingham Castle Museum & Art Gallery.

[histoireettralala]

Epic anecdotes from the battle of Eylau: Louis Lepic.

Lepic, what a figure! Velite Billon sees him at Eylau, magnificent and colossal, exuberant of valor, strength and daring. Lepic is the man of the dazzling charge of the mounted grenadiers, during the battle of Eylau. Let's talk about this famous charge and try to imagine the scene that is playing out:

Under the abundant snowfall, men and horses are motionless; the horses are black. Their riders, who wear the bear cap with the brass chinstrap, are dressed in a long white cloak. In their hands, this elegant saber that belongs only to them. On the day of Eylau, the regiment was placed under the command of its colonel major, lepic. The Russian cannonballs, which make their way without difficulty in the midst of the snowflakes, take men and animals. Despite the courage that is commonly said to be legendary, a few riders hunch over their horse's neck. Suddenly a voice rises, dominating the crash. It’s Lepic yelling, "Heads up, the grape is not shit!" The charge soon follows these strong words. The mounted grenadiers jostle the Russian infantry, but lost in the snowstorm, find themselves surrounded. A Russian officer breaks away and, courteously, asks Lepic to surrender. The other looks at him, stung: "Look at those faces there, if they want to surrender" and sword pointed, followed by what remains of his riders, Lepic cuts a red path to the Emperor. The latter salutes him with the new rank he has just conferred on him: "I thought you were taken, GENERAL, and I was very sorry for it - Sire, replied Lepic:" you will never hear but my death! "

This time, he hadn't gone too far from it: when he greeted Napoleon, Louis Lepic was almost stripped of his clothes, he had only one boot and blood was streaming through multiple wounds. In the evening, the new general received fifty thousand francs from the Emperor, which he imperially distributed to his surviving grenadiers. This was in February 1807.

According to Billon JC Damamme's account: Les soldats de la Grande Armée (Perrin 1998)

Colonel Lepic in Eylau, by Jean-Baptiste Edouard Detaille (Musée Condé, Chantilly)

Found here

[sartle-blog]

Sartle School of Art History: Realism

via unimpressionism

Realism can refer to two things: the representation of the subject as it appears in real life or the 19th-century movement that began in France after the 1848 Revolution. The first definition of realism is interchangeable with the word naturalism and refers to the illusionistic realism that seeks to mimic real life, presenting the physical appearance of the subject accurately. The latter focuses instead on the content of the subject matter, choosing to capture a truthful vision of modern life, portraying the mundane (or ugly and grotesque as labeled by its critics).

Gustave Courbet, A Burial at Ornans, 1849-50

This painting by Gustave Courbet may just look like another painting of some bereaved French people, but it caused quite a scandal during its exhibition at the Salon of 1851. This painting depicts a funeral, a subject normally reserved for kings and popes, lifting an everyday village scene to a level of grandeur and nobility. Critics also attacked this painting simultaneously for being unrealistically flat and also too realistic in its depiction of the townspeople, capturing every wrinkle and unbecoming detail in their facial expressions.

Courbet, The Bathers, 1853

This line of simultaneously unidealized, yet too realistic criticism followed Courbet into his later paintings, including The Bathers and The Stonebreakers. The banality of his paintings alienated the public, yet his too realistic nudes were seen as indecent. The painting, The Bathers, was criticized for its too credible butt and sketchy landscape.

 Despite unanimous disapproval by critics, this painting was bought for 3,000 francs by wealthy art collector and trust fund baby Albert Bruyas, allowing Courbet to be financially independent and thus began his period of radical realism and Realist manifesto of 1855.

Courbet, The Stonebreakers, 1849-50

Courbet focused his art on subjects that were often ignored or obscured by the privileged, capturing social relations during a time of charged political circumstances. Although his focus was capturing truth, reality is subjective in art, and like the idealized mimetic realism, his art was curated for the eyes of the viewer. Courbet refuses to sentimentalize the stonebreakers, a common job in rural areas during the off-season when extra income was needed, a “make-work” activity, or form of unskilled labor designed to prevent the canaille (the masses) from pillaging towns and becoming “idlers.” Courbet records this activity unburdened by bourgeois prejudice, bringing to the issues caused by urbanization to the center of the canvas. Although Courbet presented paintings of real people instead of the idealized forms prescribed by the Academy, his art was no less curated. Designed to touch the conscience of the viewer, realist ambition is to convert a political ideology into aesthetics.

Edouard Manet, Olympia, 1863

Another artist who is associated with the Realism movement is Edouard Manet. Like Courbet, his paintings were also a form of social critique. The painting Olympia was first shown at the Salon of 1865, where it caused quite a scandal. Its composition mimics the quintessential nude, Titian’s Venus of Urbino, except here Olympia is not a demure nude goddess but a naked prostitute. The name “Olympia” signaled her occupation, as well as the orchid in her hair, the bracelet, and her earrings as a symbol of wealth and sensuality. In the back there is a cat instead of a dog, again signaling her occupation rather than fidelity. Manet, in his frank portrayal, presents Olympia instead of idealizing her, and with it, the social changes happening in the newly modernized Paris.

Manet, Young Lady in 1866, 1866

Manet’s paintings were often criticized for lack of clarity, both in the quick brushstrokes, a precursor to Impressionism, and the lack of narrative. At the time, the Academie des Beaux-Arts, or the governing body of art education in France, had strict guidelines for how painting should be conducted, developed by Nicolas Poussin, advocate of academic art and avid rulemaker. This included guidelines for subject matter, which had to be classical or biblical. Manet chose to paint everyday life–rural and urban workers, streets, cafes and nightclubs. This confused the academicians who had four strict genres–history, portraiture, genre, landscape and still life.

The painting Young Lady in 1866 fell into multiple categories. The most apparent is portraiture, although her casual dressing gown, or deshabille, and lack of insight into her personality would classify it otherwise. Some speculate that it is an allegory of the five senses, the nosegay representing smell, the orange for taste, the parrot for hearing or confidence, and her fingers on the monocle alluding to touch and sight, which could make it a history painting. However, the woman is not recognizable as an allegorical figure, perhaps classifying it as a genre scene. The critics, fixated on the social constructs of academic painting, were no doubt puzzled, leading to boiling hot burns like comparing it to a still life, the lowest genre of painting, and tepid burns like calling it a “daub”.

Realism was partially possible due to the changes that it critiqued. Modernization created a new class of bourgeois art buyers who were unconcerned with the academic traditions and guidelines set for art. Realists worked both against the bourgeois and for the bourgeois audience, provoking them with aesthetics that opposed the existing conventions. Demand for art grew, as did tensions between bourgeois buyers and academicians, and pressure to accept more canvasses led to the establishment of the Salon de Refusees, made up of paintings that didn’t quite make it into the actual Salon. Diminished by critics for not having seriousness or worth, these images of subjects previously ignored were able to speak to the changing art market and the tastes of the middle class. Additional artists worth mentioning in the Realism movement include Jean-François Millet, Honoré Daumier, and Jean-Baptiste-Camille Corot.

By: Abby Li

[kaxen]

Some Edouard Detaille sketches (or at least attributed to him) popped up on ebay

[detournementsmineurs]

“Esquisse pour un Portrait de Général Bonaparte" par Jean-Baptiste-Edouard Detaille (circa 1900) au Musée de l'Armée, Hôtel des Invalides, janvier 2020.

[artesplorando]

Jean Baptiste Edouard DETAILLE, The Dream 1888 Oil on canvas, 300 x 390 cm Musée d'Orsay, Paris

[atsunnyside2]

Edouard Manet: The Balcony

Edouard Manet, The Balcony, 1868-1869, Oil on canvas, H. 170; W. 124.5 cm, Musée d’Orsay, Paris

The Balcony

When Manet painted this piece, scenes of bourgeois life were in vogue, yet The Balcony went against the conventions of the day.  The painting tells no story or anecdote; the protagonists are frozen, as if isolated in an interior dream, evidence that Manet was freeing himself from academic constraints, despite the obvious reference to Majas on the Balcony by Francisco Goya,   (Google Arts and Culture and Musee d’Orsay)

Click to enlarge:

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Unique Styles

Manet’s paintings were influenced by the Impressionists, yet he was uninterested in becoming involved with exhibitions during this era in art. He was more keen on displaying his works at the Salon, so he could avoid any notions that he was a representative of the impressionist style of painting. Although Manet was also fond of using lighter colors, his paintings often had a hint of black, which was not typical in most paintings during his time.    (Quote from http://www.manet.org/)

Video from Smarthistory

The Subjects

The three principal figures depicted were each friends of the artist. From left to right they are: the painters Berthe Morisot, and Jean Baptiste Antoine Guillemet, and Fanny Claus, a violinist. Some have suggested that the fourth figure, barely visible in the shadows, is the young Leon Leenhoff, the son of Manet’s wife. (smarthistory)

The subjects seem to be disconnected from each other: while Berthe Morisot, on the left, looks like a romantic and inaccessible heroine, the young violinist Fanny Claus and the painter Antoine Guillemet seem to display indifference… Just behind the railings, there are a hydrangea in a ceramic pot, and a dog with a ball below Morisot’s chair.[2]

This was the first portrait of Morisot by Manet. Manet adopts a retrained colour palette, dominated by white, green and black, with a accents of blue (Guillemet’s tie) and red (Morisot’s fan).

Manet deliberately eschewed any sense of connection between the figures, treating them more like objects in a still life than living people. None of them looks at the others.

The painters Berthe Morisot, and Jean Baptiste Antoine Guillemet, and Fanny Claus, a violinist

“Close the shutters!”

At its presentation at the 1869 Salon, this enigmatic group portrait was overwhelmingly misunderstood. “Close the shutters!” was the sarcastic reaction of the caricaturist Cham while another critic attacked “this gross art” and Manet who “lowered himself to the point of being in competition with the painters of the building trade”.

The vividness of the colours, the green of the balustrade and shutters, the blue of the man’s tie, as well as the brutal contrast between the white dresses and the darkness of the background, were perceived as provocation. The hierarchy usually attached to human figures and objects has been disregarded: the flowers receiving more detail than some of the faces.

It is not surprising then, that a painting which took such liberties with tradition, convention and realism so shocked its early public. (Google Arts and Culture and Musee d’Orsay)

See Video From Musée d’Orsay below

“Everything is mere appearance, the pleasures of a passing hour, a midsummer night’s dream. Only painting, the reflection of a reflection – but the reflection, too, of eternity – can record some of the glitter of this mirage.”

                                           Édouard Manet

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Details

Title: The Balcony

Date Created: 1868 – 1869

Provenance: Gustave Caillebotte bequest, 1894

Physical Dimensions: w1240 x h1700 mm

Painter: Edouard Manet

Original Title: Le Balcon

Credit Line: © RMN (Musée d’Orsay) / Hervé Lewandowski

Artist Information:http://www.musee-orsay.fr/en/collections/dossier-manet/chronology.html

Type: Oil on canvas

Rights: Musee d’Orsay, dist. RMN / Patrice Schmidt

External Link: http://www.musee-orsay.fr/en/collections/works-in-focus/search/commentaire_id/the-balcony-7199.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=ed0bf50b6e

Provenance

The Balcony was exhibited at the Paris Salon of 1869, and then kept by Manet until his death in 1883. It was sold to the painter Gustave Caillebotte in 1884, who left it to the French state in 1894. It is currently held at the Musée d’Orsay, in Paris.

Sources

“The Balcony” by Edouard Manet, Google Arts and Culture, accessed June 24, 2018, https://artsandculture.google.com/asset/the-balcony/ggFK0UgXAd7OCA?hl=en

Edouard Manet, “The Balcony”, Musée d’Orsay, Paris, accessed June 24, 2018, http://www.musee-orsay.fr/index.php?id=851&L=1tx_commentaire_pi1[showUid]=7121&no_cache=1

Edouard Manet, “Édouard Manet and His Paintings”, accessed June 23, 2018, http://www.manet.org/

Wikipedia contributors, “The Balcony (painting),” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=The_Balcony_(painting)&oldid=843091653 (accessed June 25, 2018).

Wikipedia contributors, “Édouard Manet,” Wikipedia, The Free Encyclopedia, https://en.wikipedia.org/w/index.php?title=%C3%89douard_Manet&oldid=846867856 (accessed June 25, 2018).