nineteenth century european painting

Nineteenth Century

EUROPEAN PAINTING

From Barbizon to Belle Époque

WILLIAM RAU

Plate 19.9 Giovanni Boldini,Portrait of Princess Cécile Murat (née

Ney d’Elchingen), 1910Oil on canvas,

94in. high x 511⁄4in. widePrivate Collection / © Christie’s Images, Ltd.

In this stunning portrait, GiovanniBoldini captured an amazingly ethereallikeness of the Princess Cécile MuratNey d’Elchingen. The Princess, herself adescendant of Russian royalty, marriedJoachim Napoléon Murat, Fifth PrinceMurat, a descendant of the Bonaparte-Murat family, and thereby becoming anotable member of Parisian royalty. Bythe time Boldini painted this portrait,he was already considered a masterrivaled only by the great Americanpainter John Singer Sargent. Thus hisportraits, imbued with animatedbrushstrokes and intense colors, werecommissioned by only the wealthiestEuropean families.

Plate 19.8 Giovanni Boldini, Portrait of Giovinetta Errazuriz, 1892

Oil on canvas, 791⁄4in. high x 393⁄4in. widePrivate Collection / Photograph Courtesy of

Notably, attendance at the Refusés exhibition was actuallygreater than that witnessed at the official Salon. This was not,however, necessarily a signal of success. Many visitors attendedthe off-shoot exhibition with the sole intention of laughing at“bad” art. Furthermore, the number of works displayed wasrather paltry. Many artists, fearing their participation in theSalon des Réfusés would elicit retribution from the Salon jury inthe future, chose to safeguard their careers and thus pulledtheir paintings from the show. Most of the visitors to the Salondes Réfusés left with the sense that this was all just a farce. Theart critics of the day, however, left somewhat inspired. Insupport of an artistic shake up, they began writing in praise ofthe independents and questioned the tired, redundant paththe Académie had taken.

Once this critic’s bold words took hold, the art publicincreasingly took them to heart. Attention turned to theAcadémie and, suddenly thrust under public scrutiny, theinstitution that had governed artistic training for centuriesfaltered. Some students abandoned their studio teachers andinstead studied the Old Masters, whose works lined the halls ofthe Louvre Museum. As a result, the studios that had beenassociated with the Académie started to fold, including Gleyre’s.In 1864, Gleyre closed his doors, leaving Monet, Renoir, andtheir associates Bazille and Sisley to fend for themselves.

Undeterred by the retirement of their studio master, theywelcomed their new-found freedom. Having witnessed theevents that had transpired in recent years, the group realizedthat even without Académie support, artists could be recognizedfor their innovations in both subject matter and technique.Furthermore, these young artists kept abreast of the advancingscience of photography. Pioneered in the early years of the1800s, photography had developed over the course of thecentury into a means by which one could literally capture aninstant and reproduce it in pictorial form. Louis Daguerre, oneof the most influential pioneers of photography and inventorof the “Daguerrotype,” had popularized the medium in the late1830s, taking snapshots of the people and streets of Paris. ByMonet and Renoir’s generation, Gaspard Félix-Tournachon,better-known as Félix Nadar, was carrying photography evenfurther, experimenting most notably with aerial photographyfrom a hot air balloon. Fascinated by this instantaneous modeof expression, the painterly cohort set out to capture the same

IMPRESSIONIST PAINTING

Plate 7.4 Claude Monet, Impression: Sunrise, 1872Oil on canvas, 19in. high x 243⁄4in. wide

Musée Marmottan, Paris/Giraudon/The Bridgeman Art Library

hen Neoclassical painter Jean-Auguste-DominiqueIngres was commissioned to depict his ideal of Near

Eastern life, he created La Grande Odalisque (Plate 3.10),an instantly captivating painting of an exotic concubine. Onecannot help but be enthralled by the sultry gaze of thisvoluptuous vixen whose ivory-white skin glows amidst the hintsof the mysterious East that surround her. From the lustrousturquoise and amber silks that envelope her to her “costume”of a bejeweled turban and golden bangles, Ingres created avision of the East that sets the imagination wild.

The story that Ingres’ concubine tells, however, is not of lifein the Near East, but rather the early 19th-century Europeanperception of it. The Near East, a geographical generality thatlumped the Orient – what is today known as the Middle East –with the northern regions of Africa, was, for late 18th- and early19th-century Western European audiences uncharted territory.The cultures of these vast regions existed primarily as fantasy inthe minds of Europeans. Shortly after Ingres completed LaGrande Odalisque, however, the fantasy of these cultures wouldbecome tangible. Soon, pioneering painters would filter intothese fabled lands, giving rise to the field of Orientalist Painting,which produced some of the most enchanting images of the era.

Rumors of exoticism and savagery in the Orient hadcaptivated Europeans for centuries. This post-Crusadersintrigue began in the 13th century in port cities such as Venice,where trade ships ferried spices and textiles along with tall talesfrom these faraway lands. Artists in the 15th and 16thcenturies began capitalizing on Venice’s extensive trade withthe Near East by stocking their paintings with figures garbed inturbans and swathed in opulently-embroidered silks, a primeexample of which can be seen in a version of Paolo Veronese’sMarriage at Cana (Plate 3.2).

Even 17th-century Baroque master Rembrandt van Rijnfelt the tug of Near Eastern attraction, keeping in his studioEastern-themed props like turbans and scimitars andsometimes donning them himself, as documented in his self-portraits. By the 18th century, this infatuation with the NearEast had grown beyond painting, with writers also weavingseductive stories about these mysterious lands. One of theearliest works in this new literary genre was Baron deMontesquieu’s Persian Letters.1 This satirical account of twofictional Persian noblemen on a journey through France,released in 1721, was an immediate success.

The fervor for foreign fantasy continued throughout the18th century and into the nineteenth as was illustrated withIngres’ La Grande Odalisque. Just like Montesquieu’s fictivePersian characters, however, Ingres’ enchanting maiden was nottruly “Eastern.” Her turban and ornate fan were merely Easternprops, placed in a carefully constructed scene hundreds of milesfrom the nearest Eastern outpost. Ingres never desired to travelEast. In fact, the farthest “East” he dared to venture was Naplesin Italy, to paint, coincidentally, La Grande Odalisque,commissioned by Caroline Murat, Queen of Naples andyounger sister of Napoléon Bonaparte. His reasons for stayingput in Europe were two-fold. First, he feared, as many othersdid, the monumental challenges inherent to travel in such anunknown land. And, even if he had been able to overcome hisapprehensions, he nevertheless would have been faced with therestricted access of Western European to the East, thanks to thepolitical powerhouse that gripped the Eastern world.

For centuries, Western European rulers had battled thepowerful Ottoman Empire, whose control at its heightwrapped around almost the entirety of the Mediterranean Sea.Stretching from modern-day Croatia across the Middle East to

CHAPTER THREE

ORIENTALIST PAINTING

Plate 3.1 Albert Aublet, The Cinli Kiosk at the Topkapi Palace(Le Kiosque Cinli au Palais de Topkapi), second half 19th century Oil on mahogany panel, 133⁄4in. high x 105⁄8in. widePrivate Collection/ © Christie’s Images, Ltd.

Previous spread: Jean-Léon Gérôme, Le Marabout, detail, see Plate 3.12

VENETIAN VIEW PAINTING

Plate 11.11 Antoine Bouvard, Venice at Dusk, late 19th-early 20th centuryOil on canvas, 291⁄2in. high x 37in. wide

Private Collection/Fine Art Collection of M.S. Rau Antiques, New Orleans

Facing page: Plate 11.12 Rubens Santoro, Leaving the Church (Sortie d’Eglise),second half 19th century-first half 20th century

Oil on canvas, 251⁄4in. high x 201⁄2in. widePrivate Collection/Fine Art Collection of M.S. Rau Antiques. New Orleans

CH 11 VENETIAN VIEW_trial chapter.qxd 01/06/2012 11:50 Page 352

Plate 11.11 Antoine Bouvard, Venice at Dusk, late 19th-early 20th centuryOil on canvas, 291⁄2in. high x 37in. wide

Private Collection/Fine Art Collection of M.S. Rau Antiques, New Orleans

Facing page: Plate 11.12 Rubens Santoro, Leaving the Church (Sortie d’Eglise),second half 19th century-first half 20th century

Oil on canvas, 251⁄4in. high x 201⁄2in. widePrivate Collection/Fine Art Collection of M.S. Rau Antiques. New Orleans

Plate 11.13 Martin Rico y Ortega, Ca D’Oro, second half 19th centuryOil on canvas 183⁄8in. high x 293⁄4in. wide

Private Collection, New York/Fine Art Collection of M.S. Rau Antiques, New Orleans

Martin Rico y Ortega was one of the Venetian View painters who truly fell in love with Venice. Whereas other artistspaid only short, solitary visits to the lagoon city, Rico y Ortega was so entranced after his first extended trip to the cityin 1872 that, after having settled in Paris in 1879, he vowed to spend every summer thereafter painting in Venice. Thisaffection for the city is apparent in his compositions, wherein his treatment of his cityscapes reflects an intimateknowledge of the city’s iconic architecture and waterways. Ca D’Oro depicts the Palazzo Santa Sofia (at center left), betterknown as the Ca D’Oro, or “Golden House,” for the gilt decorations that once adorned the façade. Built between 1428-1430, the Ca D’Oro was originally owned by the Contarini family, who provided the city of Venice with eight of its Dogesbetween the 11th and17th centuries.**Goy, Richard J. 1992. The House of Gold. NY: Cambridge University Press.

Plate 11.14 Franz Richard Unterberger, The Grand Canal seen from Santa Maria della Salute, Venice,second half 19th century

Oil on canvas, 241⁄2in. high x 40in. widePrivate Collection/© Christie’s Images, Ltd.

Plate 11.13 Martin Rico y Ortega, Ca D’Oro, second half 19th centuryOil on canvas 183⁄8in. high x 293⁄4in. wide

Private Collection, New York/Fine Art Collection of M.S. Rau Antiques, New Orleans

Martin Rico y Ortega was one of the Venetian View painters who truly fell in love with Venice. Whereas other artistspaid only short, solitary visits to the lagoon city, Rico y Ortega was so entranced after his first extended trip to the cityin 1872 that, after having settled in Paris in 1879, he vowed to spend every summer thereafter painting in Venice. Thisaffection for the city is apparent in his compositions, wherein his treatment of his cityscapes reflects an intimateknowledge of the city’s iconic architecture and waterways. Ca D’Oro depicts the Palazzo Santa Sofia (at center left), betterknown as the Ca D’Oro, or “Golden House,” for the gilt decorations that once adorned the façade. Built between 1428-1430, the Ca D’Oro was originally owned by the Contarini family, who provided the city of Venice with eight of its Dogesbetween the 11th and17th centuries.**Goy, Richard J. 1992. The House of Gold. NY: Cambridge University Press.

Plate 11.14 Franz Richard Unterberger, The Grand Canal seen from Santa Maria della Salute, Venice,second half 19th century

Oil on canvas, 241⁄2in. high x 40in. widePrivate Collection/© Christie’s Images, Ltd.

Antoine Bouvard (1870-1956)Born in southeastern France, Antoine Bouvard studied art andarchitecture at the Ècole des Beaux-Arts in Paris. He traveledextensively throughout southern Europe and theMediterranean. His art dealer in Paris gave Bouvard the idea ofpainting the Venetian landscape, which became his mostsuccessful and sought-after subject. So popular were these viewsthat Bouvard purportedly began painting under thepseudonym “Marc Aldine” to allow him to sell more works toa wider audience without his Parisian dealer’s knowledge.Bouvard had his first one-man exhibition at Gladwell &Company in 1928. His works made such an impression thatthe exhibition’s most prestigious attendee, Queen Mary,purchased two of the artist’s paintings. Today, Bouvard’spicturesque paintings are highly collectible works that havemade a significant impact among fine art connoisseurs.Bouvard’s works and biographical information are oftenmistaken for those of his son, Georges Noel Bouvard, who wasalso known as Antoine, Jr. (1912-1957).

Ippolito Caffi (1814-1866)Born in the town of Belluno, in northern Italy, Ippolito Caffispent his early artistic years training at the Accademia di BelliArti in Venice. Perhaps similarly inspired as Canaletto with thework of Pannini, Caffi moved to Rome in 1832, where hespent several years studying her ancient ruins. Upon his returnto Venice he began painting in earnest, and by 1846 hedebuted at the Parisian Salon. This was a huge honor for an up-and-coming painter, made even more splendid in that his workwas incredibly well-received. His works stood out from hispredecessor Canaletto in that Caffi chose different, morecomplex points of view from which to paint. He also playedmore dramatically with lighting effects of early dawn and latedusk. A true expert draftsman and artist, Caffi was also anintensely adventurous soul who felt a deep pride for his fellowItalians. So, with the onset of the Third War of ItalianIndependence in 1861, Caffi sought out a way to express hispatriotism. His chance came at the end of the war, when hesecured passage on the Italian naval ship Ré D’Italia, fromwhich Caffi hoped to paint some of the first images of anItalian Naval victory. The battle proved catastrophic however,

including the sinking of the Ré D’Italia, which went to a waterygrave taking Caffi with her. His drowning at such a relativelyyoung age cut a promising career short, but he is neverthelessincluded in the canon of great Venetian View painters, withhis works being held in some of the great Italian collections.

Federico del Campo (1837-1927)Renowned as one of the greatest Venetian View painters of thelater 19th century, Federico del Campo was born in Lima, Peru.He trained in Madrid with Lorenzo Valles (1830-1910), anartist who himself worked a great deal in Italy. After his trainingdel Campo spent years traveling extensively throughout Italy,perfecting his vivid palette and technical mastery. Del Campoexhibited his Venetian scenes at the Paris Salon in 1880 and atthe Madrid Art Exhibition of 1881. His paintings are regardedamong the greatest renderings of the Venetian landscape andare sought by collectors around the world.

Canaletto (Giovanni Antonio Canal) (1697-1768)The son of Venentian painter Bernardo Canal, youngGiovanni Antonio Canal earned the sobriquet of Canaletto, or“Little Canal,” at a young age. He began his training as anapprentice to his father, first painting scenes for Venetiantheater sets. However, on a chance viewing of the work ofRoman printmaker Giovanni Paolo Pannini, who specializedin views of Venice, Canaletto was hooked. In 1719, heembarked on a career of painting views of Venice, gainingfurther tutelage from fellow Venetian painter Luca Carlevarijs.He expanded upon Carlevarijs’ techniques by painting directlyfrom the natural world. As this was before the age of tubepaints, such painting was no easy task. Yet it was this techniquethat allowed Canaletto to create such vivid and picturesquecompositions. Also notable was Canaletto’s uncanny accuracyin rendering Venetian scenes, a precision aided by the use of acamera obscura, an early device that projected a photograph-like image of an area directly on to his canvas. Canaletto’sviews became popular not only across the Italian Peninsula butalso across Europe. The British took a particular liking to hisworks, so much so that when the War of Austrian Successionbroke out, restricting his British patrons’ access to Venice,Canaletto moved to England. There he stayed for years,

capturing views of London with the same delicacy and beautyas he had done in Venice. By the time Canaletto returned toVenice in 1755, he was one of the most popular artists of theday. His celebrity was honored in 1763 when he was elected tothe Venetian Academy, the final accolade of his career beforehis death in 1768. Selected museums holding his worksinclude: the Metropolitan Museum of Art, New York; theLouvre Museum, Paris; and the Kunsthistorisches Museum,Vienna.

Edward Pritchett (fl.1828-1864)Edward Pritchett was a prolific artist, yet very little is knownabout his life. Though the details of his youth and artistictraining remain lost to the ages, his spectacular Venetian ViewPaintings reveal an uncanny talent for capturing the indeliblebeauty of Venice. His works were popular among collectorseven during his lifetime, and during the peak years of his careerhe was a noted exhibitor at London’s annual Royal Academyexhibitions. Selected museums holding his works include: theHuntington Library, San Marino; and the Victoria and AlbertMuseum, London.

Martin Rico y Ortega (1833-1908)Martin Rico y Ortega was born in El Escorial, Madrid. Hestudied at the San Fernando School, where he learned themerits of plein air painting, not made popular until the days ofthe Impressionists. His creative approach paid off when he wona government-sponsored scholarship to study art in Paris, wherehe was influenced by the Barbizon School. He arrived in Italy in1872, and almost immediately he became fascinated by thesplendor of Venice. From then, on he traveled between Parisand Italy, spending numerous summers in Venice, sketchingbuildings and landscapes. To attain a particularly uniqueperspective, Ortega was known to paint while sitting in agondola. In 1878, he won the third-place medal at the ParisExposition Universelle and was also made an officer of the FrenchLégion d’Honneur. Selected museums holding his worksinclude: the Bilbao Fine Arts Museum, Spain; the BrooklynMuseum, New York; and the Walters Art Museum, Maryland.

Rubens Santoro (1859-1942)Rubens Santoro grew up in Mongrassano, Italy, near thesouthern-most tip of the Italian peninsula. He trained at theAcademy of Fine Art in Naples, after which he devoted hiscareer to travel. He spent years touring Italy, capturing vibrantvistas of some of the peninsula’s most picturesque areas. Laterin life, he traveled to London and Paris, moving to back to Italyonly shortly before his death in 1942.

Franz Richard Unterberger (1838-1902)One of the most notable Austrian Venetian View painters,Franz Richard Unterberger was born in Innsbruck to a familyof eleven children. He received his early artistic training at theAcademy in Munich, where he excelled at painting scenes of theAustrian landscape. He continued his training in Düsseldorf,Germany, and then settled in Brussels, Belgium, in hopes ofestablishing himself on the European art market. By the 1870s,his hopes had materialized. Having switched his subjects toscenes of Southern Italy and Venice, Unterberger found thathis work was in demand for exhibition not only across Europebut also in the United States. Landscapes such as theseremained his focus for the duration of his painterly career,which continued up until his death in 1902 at the age of 64.

Félix-François Georges Philibert Ziem (1821-1911)Félix-François Georges Philibert Ziem was a native ofBurgundy, France, who trained as a youth to become anarchitect. After working as an architect for a brief time, Ziemtook a serendipitous trip to Italy, one which would alter hispath forever. During this visit he fell in love with Venice anddecided that painting, which had been an infrequent hobby,would now become his profession. By the time he debuted atthe Salon of 1849, Ziem was firmly established as a VenetianView painter. Spending the better part of his peak years as apainter in Italy, Ziem moved to Montmartre in 1860, where hewould continue to paint until his death in 1911. A fittingtestament to his impressive career, Ziem was interred at thefamed Parisian Père Lachaise Cemetery.

NOTABLE VENETIAN VIEW PAINTERS