All Henri Gervex's oil paintings
ID Image  Oil Pantings, Sorted from A to Z     Other Information
64370  
Henri Gervex, portrait of mme valtesse de la bigne
  		portrait of mme valtesse de la bigne 1889 paris, louvre
11508  
Henri Gervex, The Coronation of Nicholas II
  		The Coronation of Nicholas II 1896 3' 9 3/4'' x 4' 11 3/4''(116 x 151.5 cm)
54101  
Henri Gervex, The Salon Jury
  		The Salon Jury mk235 1885 Oil on canvas 299x419cm
11503  
Henri Gervex, Valtesse de la Bigne
  		Valtesse de la Bigne 1889 6'6 3/4'' x 4'(200 x 122 cm)Gift of Mrs.Valtesse de la Bigne,1906
83882  
Henri Gervex, Valtesse de la Bigne
  		Valtesse de la Bigne Date 1879(1879) Medium Oil on canvas Dimensions 200 x 122 cm (78.7 x 48 in) cjr
87733  
Henri Gervex, Valtesse de la Bigne
  		Valtesse de la Bigne 1879(1879) Medium Oil on canvas Dimensions 200 x 122 cm (78.7 x 48 in) cyf
Henri Gervex
French Academic Painter, 1852-1929.French painter. His artistic education began with the Prix de Rome winner Pierre Brisset (1810-90). He then studied under Alexandre Cabanel at the Ecole des Beaux-Arts in Paris, where his fellow pupils included Henri Regnault, Bastien-Lepage, Forain, Humbert (1842-1934) and Cormon; and also informally with Fromentin. Gervexs first Salon picture was a Sleeping Bather (untraced) in 1873: the nude, both in modern and mythological settings, was to remain one of his central artistic preoccupations. In 1876 he painted Autopsy in the H?tel-Dieu (ex-Limoges; untraced), the sort of medical group portrait he repeated in 1887 with his Dr Pean Demonstrating at the Saint-Louis Hospital his Discovery of the Hemostatic Clamp (Paris, Mus. Assist. Pub.), which celebrated the progress of medical science with a sober, quasi-photographic realism. Gervexs most controversial picture was Rolla (1878; Bordeaux, Mus. B.-A.), refused by the Salon of 1878 on grounds of indecency, partly because of the cast-off corset Degas had insisted he include. The painting shows the central character in a de Musset poem, Jacques Rolla, who, having dissipated his family inheritance, casts a final glance at the lovely sleeping form of the prostitute Marion before hurling himself out of the window. As his friend, Manet, had done the year before with his rejected Nana (1877; Hamburg, Ksthalle), Gervex exhibited his work in a commercial gallery, with great success.



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