#guillaume guillon lethière

[illustratus]

Lucien Bonaparte contemplating his mistress, Alexandrine de Bleschamp Jouberthon by Guillaume Guillon-Lethière

[digitalfashionmuseum]

Oil Painting, 1799, French.

By Guillaume Guillon Lethière

Portraying Adèle Papin in a white empire-waist dress.

Tajan.

[roehenstart]

Le Serment des Ancêtres. Par Guillaume Guillon-Lethière.

[richo1915]

The Death of Virginia

One of the Decemviri, Appius Claudius (a patrician) demanded sex with a young plebeian woman called Virginia, unmarried but betrothed. Deception and Corruption followed as Appius suborned one of his followers to claim that she was his slave, who had been stolen by her so-called father and Centurion Lucius Virginius.

The judge in the case was Appius himself, who of course found in his accomplice’s favour, and strode through the Forum to grab Virginia. In the argument that followed, her father grabbed his pugio and stabbed his daughter to death, shouting “I am making you free, my child, in the only way I can!”

The display of Virginia’s body and passionate speech that Virginius gave to the Army led to riots, mutiny and the abolition of the tyrannical board of the Decemviri.

[egoschwank]

al things considered — when i post my masterpiece #1340

first posted in facebook august 23, 2024

guillaume guillon-lethière -- "le serment des ancêtres" [i.e., "the oath of the ancestors"] (ca. 1823)

"you may not always have a comfortable life and you will not always be able to solve all of the world's problems at once but don't ever underestimate the importance you can have because history has shown us that courage can be contagious and hope can take on a life of its own" … michelle obama

"'the oath of the ancestors,' painted in 1822 by the french artist guillaume lethière, is a heroic vision of the birth of a nation, though not one he ever called home. a towering canvas depicts generals alexandre pétion and jean-jacques dessaline, heroes of the haitian revolution, in crisp military regalia. their hands rest on a stone inscribed with the ideals of their new freedom; broken shackles and chains lay at their feet. their eyes are cast to the heavens, where a billowy god figure bestows divine grace upon them from above. lethière made it as a gift to the nation, and as a gesture of his solidarity with rising abolitionist and liberation movements. but it’s also an emblem of the artist’s own tangle of paradoxes. lethière was born in 1760 in the french colony of guadeloupe, where his mother, marie-françoise pepeye, who was mixed race, had been enslaved. his father, pierre guillon, a wealthy white sugar plantation owner, didn’t officially recognize lethière as his own until later in life, but doted on him nonetheless. guillon took his son to paris as a teen, where he became a central figure in both the thriving mixed-race creole community and the french art establishment. then, not long after his death in 1832, he was all but forgotten" … murray whyte

"for the 21st century viewer, the sight of the two men of color gazing worshipfully upward at a white god is both offensive and painfully embarrassing although a neoclassical artist trained in europe could hardly be expected to visualize god in any other way. the notion of casting morgan freeman as god was still nearly two centuries in the future" … susan wood

"hope is not blind optimism. it's not ignoring the enormity of the task ahead or the roadblocks that stand in our path. it's not sitting on the sidelines or shirking from a fight. hope is that thing inside us that insists, despite all evidence to the contrary, that something better awaits us if we have the courage to reach for it, and to work for it, and to fight for it. hope is the belief that destiny will not be written for us, but by us, by the men and women who are not content to settle for the world as it is, who have the courage to remake the world as it should be" … barack obama

"i ALways fear the worst, but continue to hope for the best" … al janik

[empirearchives]

Napoleon at the signing of the Treaty of Leoben

C. 1804-1805

Guillaume Guillon-Lethière

About the artist:

According to the Dallas Museum of Art, he was one of the “first major artists of African descent in the history of European art” as he was the son of a French diplomat and an emancipated African slave. He is known for his large neoclassical paintings.

He became friends with Louis Bonaparte, and also the artistic advisor to Lucien Bonaparte, two of Napoleon’s brothers. Lucien helped Lethière get a pardon when he killed a man in a fight. Lethière obtained the coveted position of director of the Académie de France in Rome in 1807, which he held for 9 years.

His loyalty to Napoleon and the Bonaparte family caused the restored Bourbon monarchy to look unfavorably on him, but he was eventually restored to good graces in Restoration France as the years went by.

Besides Napoleon, the other members of the Bonaparte family he painted include Josephine, Lucien and Elisa.

(Source) (Source) (Source)

[freenewsreport]

Louis Joseph César Ducornet: The Extraordinary Life and Art of a French Master

Louis Joseph César Ducornet is a name that resonates within the art world as a symbol of resilience and innovation. Born in 1806 in Lille, France, Ducornet defied the physical limitations of his body, particularly phocomelia—a condition that left him without arms and one leg. Using his feet as his creative tools, he created paintings that not only exhibited technical skill but also profound emotional depth. His journey from humble beginnings to national acclaim underscores his exceptional artistic ability, as well as the power of human determination.

Early Life and Beginnings

Louis Joseph César Ducornet entered the world on January 10, 1806, in a modest household in Lille. Born to a shoemaker, his early years were marked by financial hardship. Phocomelia posed immense physical challenges, as it deprived him of arms and one leg, yet he found creative expression using the foot with partial toes to hold and maneuver charcoal on walls. His innate talent soon became apparent, and this marked the start of a journey where local community support and his sheer dedication played pivotal roles.

Discovering Art and the Start of a Passion

Ducornet’s passion for art was sparked by his use of charcoal to sketch on walls. Recognizing his talent, the community rallied to support him, helping him secure formal art training in Paris. This marked the beginning of his artistic path, where he discovered his ability to capture human emotions, biblical stories, and historical narratives with astonishing depth and detail.

Formal Artistic Training

In 1824, thanks to the city of Lille’s support, Ducornet traveled to Paris, where he studied under distinguished artists like Guillaume Guillon-Lethière and François Gérard. He also received a pension from King Louis XVIII’s government, which facilitated his studies.

Overcoming Limitations in a Competitive Art Scene

Despite his remarkable talent, Ducornet faced challenges due to his disability. For instance, he was ineligible for the prestigious Prix de Rome, a scholarship that enabled young artists to study in Italy. Although he could not participate in this competition, his skill in capturing biblical and historical scenes gained widespread recognition, leading to numerous awards at the Salon exhibitions.

Style and Technique: A Master of Foot Painting

Louis Joseph César Ducornet's technique is perhaps one of the most compelling aspects of his work. Painting solely with his right foot, he demonstrated an exceptional level of control and precision. His pieces often focused on biblical and historical subjects, capturing not just scenes but emotions and narratives.

Key Works: “Repentance” and “Mary Magdalene at the Feet of Jesus”

Among his notable works, “Repentance” (1828) remains celebrated for its intense lighting and emotional portrayal of a biblical story. His masterpiece, “Mary Magdalene at the Feet of Jesus,” an eleven-foot-high canvas acquired by the French government in 1840, is renowned for its vibrant colors and attention to detail. Each brushstroke embodies his unique artistic vision and mastery over his technique, offering a glimpse into the creative power he harnessed despite his physical limitations.

Personal Challenges and Perseverance

Ducornet's life was not without its personal struggles. His condition not only created physical limitations but also presented psychological obstacles. However, these challenges only fortified his resolve to create art. His life story is one of perseverance, where he transformed adversity into an avenue for creative expression. His studio in Paris on Rue Visconti became a testament to his dedication, where he not only produced remarkable art but also mentored aspiring artists.

The Self-Portrait of 1852: A Testament of Resilience

In 1852, Ducornet painted a self-portrait that stands as a significant piece within his portfolio. This artwork is a powerful symbol of his journey, portraying not just his physical form but his resilience and pride as an artist. Through this piece, Ducornet presented himself as a force within the art world, challenging societal perceptions of disability.

Recognition and Influence in the Art World

Despite societal prejudice against people with disabilities in the 19th century, Ducornet earned acclaim for his distinctive style. He was respected not only by his contemporaries but also by critics like Maxime Du Camp, who lauded Ducornet’s skill in creating art with his foot. His success at the Brussels Salon in 1836 further solidified his standing in the European art scene.

Awards and Acclaim: Defying Expectations

Throughout his career, Ducornet won numerous awards, with his unique ability to convey biblical and historical themes capturing the attention of art lovers and critics alike. His works served as reminders that physical limitations could not restrain creative expression. By winning accolades and garnering attention at prestigious exhibitions, he contributed significantly to the acceptance and appreciation of disabled artists in the art world.

The Impact of Ducornet’s Legacy

Louis Joseph César Ducornet’s legacy reaches far beyond his paintings. His life and career altered perceptions of what artists with disabilities could achieve, inspiring subsequent generations of artists to pursue their passions despite physical or societal challenges. His work stands as an early and powerful testament to the fact that art knows no boundaries.

Inspiration for Future Generations of Artists

Ducornet’s contributions go beyond the art he produced; he challenged societal norms and opened doors for artists with disabilities. His story resonates with artists today who use their art to express individuality and advocate for disability representation within the art community. Ducornet’s legacy reminds us that creativity is not confined by physical form but flourishes through passion and determination.

Ongoing Influence and Modern Disability Representation

Today, artists with disabilities draw inspiration from Ducornet's life, finding motivation in his journey of overcoming obstacles. His story encourages society to view disability through a broader lens, recognizing the extraordinary contributions disabled artists bring to the world of art.

Notable Works of Louis Joseph César Ducornet

Below is a summary of Ducornet’s most influential works, which showcase his unique ability to convey intense narratives through his paintings:

“Repentance” (1828) – A stirring biblical scene characterized by vivid lighting and a strong emotional impact.

“Mary Magdalene at the Feet of Jesus” (1840) – An eleven-foot masterpiece acquired by the French government, celebrated for its detail, color, and storytelling.

“St. Louis Administering Justice” – Held at the Lille Museum, this work demonstrates Ducornet’s proficiency in historical themes and his remarkable attention to detail.

Conclusion

Louis Joseph César Ducornet's life story transcends his role as a 19th-century painter. His journey serves as an inspiring narrative of perseverance and the breaking of societal barriers. Born with a disability that many would have deemed insurmountable, Ducornet found ways to channel his creativity through his feet, producing works of art that continue to be celebrated for their emotional depth and technical prowess. His legacy not only influenced the art community of his time but continues to inspire disabled artists and advocates for greater representation in art. As an artist who redefined what it means to create, Ducornet’s impact remains timeless.

[catos-wound]

cato's wound 👍

guillaume guillon lethière

françois-andré vincent

pierre narcisse guérin

gioacchino assereto

giovanni battista langetti

johann carl loth

[simena]

Guillaume Guillon Lethière (detail)

[the-paintrist]

Eugenie Servieres - Maleck-Adhel attendant Mathilde au tombeau de Josselin de Montmorency - 1820

oil on canvas,

Brest’s Museum of Fine Arts, France

Maleck-Adhel waiting for Mathilde at the tomb of Josselin de Montmorency'. The scene is inspired by Sophie Cottin's novel, Mathilde or Memoirs from the History of the Crusades (1805). Mathilde of England asked her brother, King Richard the Lionheart, for the key to the mausoleum of Josselin de Montmorency to meet her lover, Maleck-Adhel, brother of Saladin. Here we see Maleck-Adhel, dressed in oriental fashion, waiting for Mathilde in the dark mausoleum, leaning on the tomb.

Eugénie Honorée Marguerite Servières, née Charen (1786 – 20 March 1855) was a French painter in the Troubadour style. She specialized in genre period paintings.

Portrait of Eugénie Servières by Jean-Baptiste Wicar 1810

In 1807 she married the playwright Joseph Servières. She trained with her stepfather, Guillaume Guillon-Lethière, Director of the French Academy in Rome.

Beginning in 1808, she exhibited her paintings, on a wide variety of subjects, in several venues. In 1808 and 1817, The Paris Salon awarded her medals. In 1825, she displayed two works at the Salon in Lille.

Her paintings include Hagar in the Desert, Lancelot and Genevieve, Louis XIII and Mlle. de Lafayette, Alain Chartier and Marguerite d'Écosse, Valentine de Milan, Desdemona Singing the Romance of the Willow, and Blanche de Castille Delivering the Prisoners of Châtenay.

Her Mathilde converts Malek-Adhel to Christianity (1812, from a novel about the Crusades by Sophie Cottin) was purchased by the Empress Marie Louise for her personal collection, while the evocative Inez de Castro and her Children at the feet of the King of Portugal is preserved at the Trianon Palace at Versailles, near Paris.

Most of her works were personally commissioned, and very few are in museums. She had several students.

[novembarskojutro]

La Mort de Virginie - Guillaume Guillon Lethière  (1760–1832)

Louvre, Paris

...

[illustratus]

Brutus Condemning His Sons to Death (details) by Guillaume Guillon-Lethière

It depicts the legendary founder of the Roman Republic Lucius Junius Brutus who overthrew Lucius Tarquinius Superbus the last King of Rome, watching the execution of his sons Tiberius Junius Brutus and Titus Junius Brutus stoically after having sentenced them to die for plotting to restore the Tarquin monarchy.

[bishopsbox]

source: bishopsbox

Portrait of Paul Joseph Notré, by Guillaume Guillon-Lethière. Black chalk and stumping, heightened with white chalk.

[fraternoviril]

Guillaume Guillon Lethière - The death of Catho of Utica, 1795.

Photo: https://app.smartify.org/en-GB/objects/guillaume-guillon-lethiere-death-of-cato-of-utica

[artejoke]

I couldn't Ducornet it better

Louis Joseph César Ducornet, Self-portrait, 1852, Musée des Beaux-Arts de Tours

Ducornet was a French painter who was born without arms. He began drawing with his foot from a young age, and as an adult he studied under Guillaume Guillon-Lethière, François Louis Joseph Watteau and François Gérard.

[the-paintrist]

Hortense Haudebourt-Lescot, born Antoinette Cécile Hortense Viel (14 December 1784 – 2 January 1845) was a French painter, mainly of genre and historical scenes.

She was born in Paris to Jean-Baptiste Viel, a perfumer, and his wife Cécile, née Lejeune. Her mother became a widow two years later and remarried; to Jean-Louis Lescot, a pharmacist.

At the age of seven, she began her studies with Guillaume Guillon-Lethière, a popular history painter and family friend. When he was appointed director of the French Academy in Rome in 1807, she and several other artists followed him. They arrived in 1808, and she remained until 1816. There she depicted the customs and costumes of Italian peasants in great detail, which influenced much of her later work. During this time, she began signing her works with the name "Lescot".

Beginning in 1811, she sent her paintings to Paris, to be exhibited at the Salon. Her work attracted the attention of the Duchess of Berry who, in 1816, appointed her to be her personal painter. In 1820, she married the architect Louis-Pierre Haudebourt (1788-1849), with whom she had a son. Their home became a gathering place for the artistic and literary elite. As a teacher, Haudebourt-Lescot's pupils included the painters Herminie Déhérain[4] and Marie-Ernestine Serret.

She died in Paris on 2 January 1845. Her works may be seen at the Louvre Museum, the Musée des Augustins in Toulouse, and at the Musée Jean de La Fontaine.

Oil Painting, 1800, French.

By Antoinette Cécile Hortense Haudebourt-Lescot.

Portraying of the Artist in a Grey Dress.

Musée du Louvre.