Pastel La Maternité Heureuse fin du XVIIIeme ou début du XIXeme siècle d’après Jean Baptiste Le Prince
Nous avons le plaisir de vous présenter un très joli pastel sur le
thème de la Maternité Heureuse dans un Intérieur Russe au XVIIIeme siècle.
On aperçoit, une grande mère russe avec sa fourrure posée sur son dos faisant la lecture pendant l'allaitement, le père écoutant, et un chat qui ronronne.
Beau travail de la fin du XVIIIeme siècle ou début du XIXeme siècle d’après Jean Baptiste Le Prince.
Cadre en bois dans sa dorure d’origine et vitre ancienne d'origine.
Dimension avec cadre Hauteur 75 cm - Longueur 84 cm
Biographie de Jean Baptiste le Prince (1734-1781).
École française, peintre et graveur et aquafortiste,
Le Prince après avoir étudié à Metz, se rend à Paris pour suivre des cours académiques et devient l'élève de Francois Boucher.
En 1758, il entreprend un voyage aventureux en Russie, poursuit son voyage en Sibérie et au Kamchatka, ne revenant qu'à Paris en 1764.
En 1765, il est agréé à L'académie royale de peinture et de sculpture.
Jean Baptiste Le Prince meurs le 30 septembre 1781.
Le berceau russe vers 1765 Los Angeles Getty Center
La sultana vers 1755 Paris musée cognac jay
La diseuse de bonne aventure vers 1775 Saint Petersburg , musee de l'Ermitage
Histoire du pastel.
Le pastel a vraisemblablement été inventé en France et en Italie à la fin du XVeme siècle et a été utilisé par Léonard de Vinci grâce à l'impulsion de Jean Perréal.
Le pastel est très prisé dès le XVIIeme siècle, où ses couleurs franches et son aptitude à imiter fidèlement les tissus, les textures et les lumières le rendent indissociable de l'art du portrait. Il est utilisé par de nombreux peintres comme Rosalba Carriera, Charles Le Brun, Robert Nanteuil ou Joseph Vivien.
Au XVIIIeme siècle, le pastel connaît son âge d'or. Il est notamment utilisé par Maurice Quentin de La Tour, le prince des pastellistes, qui met au point une méthode de fixation du pastel aujourd'hui disparue. Jean Siméon Chardin, Jean-Baptiste Perronneau, Jean-Étienne Liotard ou encore Jean-Martial Frédou explorent d'autres voies. Le pastel, symbole de la grâce de l'Ancien régime, tombe en désuétude peu après la Révolution au profit du néo-classicisme et de la peinture à l'huile.
Bien que le pastel n'ait plus jamais retrouvé une place privilégiée dans le monde artistique, il continuera à être utilisé et poursuivra son évolution grâce aux impressionnistes (Edgar Degas), à Toulouse-Lautrec, aux nabis (Édouard Vuillard), à Odilon Redon, Simon Bussy et, depuis les années 1970 à Pierre Risch.
Late 18th Century French School of Figurative Pastel Happy Motherhood in Russia
«Happy Motherhood in Russia». Lovely late 18th or early century French school of figurative Pastel. Circa 1790-1810 on the manner of Jean Baptiste Le Prince.
Pastels on paper in perfect original condition with original gilt frame.
Sizes with frame : H 29.52 In. - W 33.07 In.
Biography Jean Baptiste Le Prince (1734-1781).
Jean-Baptiste Le Prince (September 17, 1734 – September 30, 1781) was an important French etcher and painter. Le Prince first studied painting techniques in his native Metz. He then travelled to Paris around 1750 and became a leading student of the great painter, François Boucher (1703–1770). Le Prince's early paintings in both theme and style are comparable to his master's rococo techniques.
In 1758 Le Prince journeyed to Russia to work for Catherine the Great at the Imperial Palace, St. Petersburg. He remained in Russia for five years and also travelled extensively throughout Finland, Lithuania and even Siberia. When Le Prince returned to Paris in December, 1763, he brought with him an extensive collection of drawings which he employed as the basis for a number of fine paintings and etchings. J. B. Le Prince was elected a full member of the Académie de peinture et de sculpture in 1765.
Le Prince's graphic art of Russia and its peoples is significant in that he based his compositions entirely upon his own designs, lending a much more realistic portrayal to his views than other eighteenth century contemporaries. He is also credited with being the first artist (in 1768) to introduce aquatint into his etched and engraved plates. He may even have been the inventor of aquatint, the tonal graphic art that would later be so skillfully used by such masters as Goya, Louis-Philibert Debucourt, Delacroix and Thomas Rowlandson.
Pastel art in art history.
The manufacture of pastels originated in the 15th century. The pastel medium was mentioned by Leonardo da Vinci, who learned of it from the French artist Jean Perréal after that artist's arrival in Milan in 1499. Pastel was sometimes used as a medium for preparatory studies by 16th-century artists, notably Federico Barocci. The first French artist to specialize in pastel portraits was Joseph Vivien.
During the 18th century the medium became fashionable for portrait painting, sometimes in a mixed technique with gouache. Pastel was an important medium for artists such as Jean-Baptiste Perronneau, Maurice Quentin de La Tour (who never painted in oils), and Rosalba Carriera. The pastel still life paintings and portraits of Jean-Baptiste-Siméon Chardin are much admired, as are the works of the Swiss-French artist Jean-Étienne Liotard. In 18th-century England the outstanding practitioner was John Russell. In Colonial America, John Singleton Copley used pastel occasionally for portraits.
In France, pastel briefly became unpopular during and after the Revolution, as the medium was identified with the frivolity of the Ancien Régime. By the mid-19th century, French artists such as Eugène Delacroix and especially Jean-François Millet were again making significant use of pastel. Their countryman Édouard Manet painted a number of portraits in pastel on canvas, an unconventional ground for the medium. Edgar Degas was an innovator in pastel technique, and used it with an almost expressionist vigor after about 1885, when it became his primary medium. Odilon Redon produced a large body of works in pastel.
James Abbott McNeill Whistler produced a quantity of pastels around 1880, including a body of work relating to Venice, and this probably contributed to a growing enthusiasm for the medium in the United States. In particular, he demonstrated how few strokes were required to evoke a place or an atmosphere. Mary Cassatt, an American artist active in France, introduced the Impressionists and pastel to her friends in Philadelphia and Washington.
According to the Metropolitan Museum of Art's Time Line of Art History: Nineteenth Century American Drawings :
Among American artists by far the most graphic and, at the same time, most painterly wielding of pastel was Cassatt's in Europe, where she had worked closely in the medium with her mentor Edgar Degas and vigorously captured familial moments such as the one revealed in Mother Playing with Child.
On the East Coast of the United States, the Society of Painters in Pastel was founded in 1885. The Pastellists, led by Leon Dabo, was organized in New York in late 1910 and included among its ranks Everett Shinn and Arthur Bowen Davies. On the American West Coast the influential artist and teacher Pedro Joseph de Lemos, who served as Chief Administrator of the San Francisco Art Institute and Director of the Stanford University Museum and Art Gallery, popularized pastels in regional exhibitions. Beginning in 1919 de Lemos published a series of articles on “painting” with pastels, which included such notable innovations as allowing the intensity of light on the subject to determine the distinct color of laid paper and the use of special optics for making “night sketches” in both urban and rural settings. His night scenes, which were often called “dreamscapes” in the press, were influenced by French Symbolism, and especially Odilon Redon.
Pastels have been favored by many modern artists because of the medium's broad range of bright colors. Modern notable artists who have worked extensively in pastels include Fernando Botero, Francesco Clemente, Daniel Greene, Wolf Kahn, and R. B. Kitaj.