All Francois Gerard's oil paintings

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83748

Daphnis and Chloe

"Daphnis and Chloe" by François Gxrard, circa 1824, oil on canvas, Detroit Institute tof Arts cjr

96076

Holy Family with St Bruno and St Helena

1626(1626) Medium oil on canvas cyf

95502

Jacques Alexandre Bernard Law

Jacques Alexandre Bernard Law cyf

33854

Madame Recamier

mk87 1805 Oil on canvas 225x145cm Paris,Musee Carnavalet

21305

Madame Recamier (mk09)

1805 Oil on cavnas 225 x 145 cm Paris,Musee Carnavalet

22817

Madame Recamier (mk22)

1802 Oil on canvas,225 x 145 cm Paris,Musee Carnavalet

22818

Ossian on the Bank of the Lora,Invoking the Gods to the Strains of a Harp (mk22)

undated Oil on canvas,184.5 x 194.5 cm Hamburg,Hamburger Kunsthalle

80902

Portrait of Caroline Murat descending the staircase of Elysee Palace

1810 Oil on canvas 0.32 x 0.23 m (0.3 x 0.3 yd) cyf

41074

Portrait of Josephine

mk159 1801 Oil on canvas 178x174cm

40642

Portrait of Katarzyna Starzenska

mk156 c.1803 Oil on canvas 215x130.5cm

30669

Portrait of Napoleon Bonaparte

mk68 Oil on canvas Capidomonte Museum 1807 France

32589

Recreation by our Gallery

mk79

79634

Retrato de Carlos X de Francia en traje de coronacion

1825(1825) Medium Oil on canvas Dimensions 259 x 183 cm (102 x 72 in) cyf

30658

The Happiness of Being a Mother

mk68 Oil on canvas Sint Petersburg,State Hermitage Museum. c.1799 France

Francois Gerard

French Neoclassical Painter, 1770-1837 was a French painter born in Rome, where his father occupied a post in the house of the French ambassador. His mother was Italian. François Gerard was born in Rome, on 12 March 1770, to J. S. Gerard and Cleria Matteï. At the age of twelve Gerard obtained admission into the Pension du Roi in Paris. From the Pension he passed to the studio of the sculptor Augustin Pajou which he left at the end of two years for that of the history painter Nicolas-Guy Brenet, whom he quit almost immediately to place himself under Jacques-Louis David. In 1789 he competed for the Prix de Rome, which was carried off by his comrade Girodet. In the following year (1790) he again presented himself, but the death of his father prevented the completion of his work, and obliged him to accompany his mother to Rome. In 1791 he returned to Paris; but his poverty was so great that he was forced to forgo his studies in favor of employment which should bring in immediate profit. David at once availed himself of his help, and one of that master's most celebrated portraits, of Le Pelletier de St Fargeaumay, owes much to the hand of Gerard. This painting was executed early in 1793, the year in which Gerard, at the request of David, was named a member of the revolutionary tribunal, from the fatal decisions of which he, however, invariably absented himself. In 1794 he obtained the first prize in a competition, the subject of which was The Tenth of August, and, further stimulated by the successes of his rival and friend Girodet in the Salons of 1793 and 1794, Gerard (nobly aided by Jean-Baptiste Isabey, the miniaturist, produced in 1795 his famous Belisaire. In 1796 a portrait of his generous friend (in the Louvre) obtained undisputed success, and the money received from Isabey for these two works enabled Gerard to execute in 1797 his Psyche et l'Amour (illustration). At last, in 1799, his portrait of Madame Mere established his position as one of the first portrait-painters of the day. In 1808 as many as eight, in 1810 no less than fourteen portraits by him, were exhibited at the Salon, and these figures afford only an indication of the enormous numbers which he executed yearly; all the leading figures of the Empire and of the Restoration, all the most celebrated men and women of Europe, sat to Gerard. This extraordinary vogue was due partly to the charm of his manner and conversation, for his salon was as much frequented as his studio; Madame de Staël, George Canning, Talleyrand, the Duke of Wellington, have all borne witness to the attraction of his society. Rich and famous, Gerard was stung by remorse for earlier ambitions abandoned; at intervals he had indeed striven to prove his strength with Girodet and other rivals, and his Bataille d'Austerlitz (1810) showed a breadth of invention and style which are even more conspicuous in L'Entree d'Henri IV Paris (at Versailles), the work with which in 1817 he did homage to the Bourbons. After this date Gerard declined,

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