#Philippe Auguste Hennequin

[drrestlesshate]

Philippe-Auguste Hennequin - Il popolo francese abbatte l'idra del federalismo

[mysterious-secret-garden]

Philippe-Auguste Hennequin - The Remorse of Orestes, 1800.

Versions >> 1 | 2

[captainknell]

Happy birthday Marshal Perignon! May 31, 1754

Painting by Philippe-Auguste Hennequin

[aedesluminis]

Studying Carnot is never disappointing: even if I can't manage to find the specific info about him that I'm looking for, I always discover something new nonetheless, like this very bizarre (and cursed) drawing:

Its title is very simple and self-explanatory: Allégorie avec Lazare Carnot; it was made by Philippe-Auguste Hennequin, student of Jacques-Louis David and fervent Republican. It's not a celebrative piece, but an allegory about Carnot's supposed royalist sympathies that forced him to flee with the 18 Fructidor coup; the drawing is indeed dated 1797.

Here's the description I found on the online collection of the Vizille Museum:

With the features of a divinity, to whom victims are immolated, the herm bust of Louis XVI represents the political tendencies of Carnot.

[montagnarde1793]

Philippe Auguste Hennequin, L’Étal de la bouchère, vers 1790 (conservé au musée Cognacq-Jay).

[hadrian6]

Male Nude Holding a Harpoon. Philippe Auguste Hennequin French 1762-1833. red and brown chalk on paper.       http://hadrian6.tumblr.com

[microcosme11]

Portrait of Sir Sidney Smith in the Temple Prison 1796 by Philippe Auguste Hennequin.

A contemporary of Prud’hon and Girodet, Hennequin was briefly in the studio of David before going to Rome. As a devoted Jacobin, he was imprisoned following the death of Robespierre. There, he made the acquaintance of William Sidney Smith (1764-1840), Commodore, and later Admiral, in the British navy who had been captured near Le Havre and would stage a daring escape two years later. 

Met Museum

[queenofthenihil]

The Display of Violence in Philippe-Auguste Hennequin's The Remorse of Orestes

[harvard-art-museums-drawings]

The Enticements of Sensual Love (?), Philippe-Auguste Hennequin, 18th-19th century, Harvard Art Museums: Drawings

Harvard Art Museums/Fogg Museum, Gift of Belinda L. Randall from the collection of John Witt Randall Size: 50.5 x 35.6 cm (19 7/8 x 14 in.) Medium: Brown ink and gray wash with traces of white gouache on blue laid paper, with framing lines in brown ink, laid down on blue laid paper

https://www.harvardartmuseums.org/collections/object/298321

[harvard-art-museums-prints]

Classical Landscape with Figures, Philippe-Auguste Hennequin, 18th century, Harvard Art Museums: Prints

Harvard Art Museums/Fogg Museum, George R. Nutter Fund Size: Image: 15.6 × 22.9 cm (6 1/8 × 9 in.) Sheet: 16.4 × 23.6 cm (6 7/16 × 9 5/16 in.)

https://www.harvardartmuseums.org/collections/object/265136

[mysterious-secret-garden]

Philippe-Auguste Hennequin - The Furies or Eumenides chasing Orestes, study, 1800.

Versions >> 1 | 2

[the-met-art]

Milo of Croton by Philippe Auguste Hennequin, Drawings and Prints

Medium: Etching

A. Hyatt Mayor Purchase Fund, Marjorie Phelps Starr Bequest and Charles Z. Offin Fund, 2004 Metropolitan Museum of Art, New York, NY

http://www.metmuseum.org/art/collection/search/366876

[arthisour-blog]

Louis Gallait (May 10, 1810 – Nov 20, 1887) was a Belgian painter. He lay at the basis of a revival of history painting in Belgium. He earned his reputation especially with the large painting of Charles V’s abdication. Gallait’s works were esteemed because of their realism, faithfulness of the costumes and color composition of his paintings. He was also a distinguished portrait painter.

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Louis Gallait was a Belgian painter he lay at the basis of a revival of history painting in Belgium. He earned his reputation especially with the large painting of Charles V’s abdication. Gallait’s works were esteemed because of their realism, faithfulness of the costumes and color composition of his paintings. He was also a distinguished portrait painter. Gallait died in Brussels in 1887. There is a painting by Louis Gallait at the Norton Art Museum in West Palm Beach, Florida.

Gallait was born in Tournai, Hainaut, Belgium in 1810. He first studied in his native town under Philippe Auguste Hennequin. In 1832 his first picture, Tribute to Caesar, won a prize at the Salon of Ghent. He then went to Antwerp to continue his studies under Mathieu Ignace van Brée, and in the following year exhibited at the Brussels Salon Christ Healing the Blind. This picture was purchased by subscription and placed in the Tournai Cathedral. Gallait next went to Paris, and he sent to the Belgian Salons Job on the Dunghill, Montaigne Visiting Tasso in Prison, and — to the Brussels Gallery in 1841 — The Abdication of Charles V. The latter painting, which had been commissioned by the Belgian government, was hailed as a triumph and gained him a European reputation. The painting was exhibited together with a painting entitled the Compromise of Nobles by another young Belgian painter, Edouard de Bièfve. Both paintings subsequently travelled to exhibitions in many cities in Europe, and enjoyed a particularly enthusiast reception in Germany where they formed an important impetus for the development of a German school of history painting. Official invitations induced him to settle at Brussels.

Among his accomplished works may be named The Last Honors paid to Counts Egmont and Horn by the Corporations of the Town of Brussels, now at Tournai; The Death of Egmont, in the Berlin gallery; the Coronation of Baudouin, Emperor of Constantinople, painted for Versailles; The Temptation of St Anthony, in the palace at Brussels; The Siege of Antioch, Art and Liberty, Portrait of M. B. Dumortier and The Plague at Tournay, all in the Brussels gallery. A Gipsy Woman and her Children was painted in 1852. He also served as the director and president of the Académie Royale des Beaux-Arts.

“M. Gallait has all the gifts that may be acquired by work, taste, judgment and determination,” wrote Théophile Gautier. His art is that of a man of tact, a skilled painter, happy in his dramatic treatment but superficial. No doubt, this Walloon artist, following the example of the Flemings of the Renaissance and the treatment of Belgian classical painters and the French Romantic school, sincerely aimed at truth. Unfortunately, misled by contemporary taste, he could not conceive of it other than as dressed in sentimentality. As an artist employed by the State, he exercised considerable influence, and for a long time he was the leader of public taste in Brussels.

In 1849 he became correspondent of the Royal Institute of the Netherlands, and the next year he became associated member.

Notable students include Cesare Dell’Acqua.

Gallait died in Brussels in 1887.

Louis Gallait was originally published on HiSoUR Art Collection

[montagnarde1793]

Philippe Auguste Hennequin (1762-1833), Scène de la Révolution Française le 29 Prairial an III, en sortant du tribunal révolutionnaire [en réalité il s’agissait d’une commission militaire] qui venait de condamner à mort les Députés Soubrany, Bouchotte [Bourbotte], Duroy, Romme, Goujon [et Duquesnoy], se suicident dans leur prison, an III ou an IV, dessin conservé au musée Carnavalet.

Le site Paris Musées remarque à propos de l’artiste :

Artiste engagé, Hennequin exprime sa proximité avec les Montagnards, de tendance Jacobine dès 1794, il est à Paris en Prairial 1795, où il fut incarcéré en 1796.

[hadrian6]

Detail : The Remorse of Orestes. 1800. Philippe Auguste Hennequin. French 1762-1855. oil/canvas. Louvre.     http://hadrian6.tumblr.com