Las óleos de todo VERNET, Claude-Joseph
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ID |
Image |
Painting (From A to Z) |
Details |
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44013 |
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A Seashore |
1776
Oil on copper,
62 x 85 cm |
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62554 |
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Belisarius |
1776 Oil on canvas, 98 x 129 cm Mus?e Fabre, Montpellier The theme of Belisarius was much in vogue from the 1770s, and in addition to Jacques-Louis David, rival artists of David's own generation, such as Pierre Peyron and Fran?ois-Andr?Vincent, had painted their own versions of the subject. Vincent's Belisarius is reduced to begging, and receives the charity from a soldier in Justinian's army. Here there is no sense of recognition, the blind former general is oblivious to the identity of his benefactor. Vincent also took the unorthodox step of creating a group of half-length figures, an unusual device in France at this time. Author: VINCENT, Fran?ois-Andr? Title: Belisarius Form: painting , 1751-1800 , French , historical |
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97798 |
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La tour Apigne a Rennes |
1836(1836)
Medium oil on canvas
Dimensions 31.5 x 38 cm
cyf |
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40573 |
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Morning |
mk156
1760
Oil on canvas
65.5x98.5cm
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9606 |
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Shepherd in the Alps we r |
Oil on canvas
Mus??e des Beaux-Arts, Tours |
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51092 |
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Shipwreck |
1759
Oil on canvas,
96 x 134,5 cm |
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9607 |
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Shipwreck wr |
1759
Oil on canvas, 96 x 134,5 cm
Groeninge Museum, Bruges |
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32723 |
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Storm with a Shipwreck |
1754
Oil on canvas,
87 x 137 cm |
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77034 |
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Storm with a Shipwreck |
1754, Oil on canvas, 87 x 137 cm, Wallace Collection, London
cyf |
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62553 |
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The Artist's Studio |
52 x 64 cm Private collection The picture shows the artist's as a crowded and social space, where work was more likely to be interrupted by loungers and visitors, fencing matches and dog fights, than by melancholy soul-searching. Yet in fact this is an image of frustration. The fall of Napoleon had left the once-fashionable Vernet bereft of subjects and patrons, and his political views had excluded him from the Paris Salon of 1821. He had been obliged to show in this very studio, including his picture of it as an ironic symbol of the impasse to which he had been brought. Author: VERNET, Horace Title: The Artist's Studio Form: painting , 1801-1850 , French , interior |
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40574 |
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The City and Harbour of Toulon |
mk156
1756
Oil on canvas
165x263cm
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9608 |
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The Town and Harbour of Toulon aer |
1756
Oil on canvas, 165 x 263 cm
Mus??e du Louvre, Paris |
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9605 |
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View of Naples uit |
1748
Oil on canvas, 100 x 198 cm
Mus??e du Louvre, Paris |
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20722 |
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View of Naples with Nt.Vesuvius (mk05) |
Canvas,39 3/4 x 77''(99 x 197 cm)Acquired by the Louvre in 1976 R.F |
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20724 |
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View of the Gulf of Naples (mk05) |
1748
Canvas,39 x 77 1/4''(100 x 198 cm)Formerly in the Pereire Collection R.F |
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| VERNET, Claude-Joseph
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| French Painter, 1714-1789
Painter. Vernet probably received his first lessons in painting from his father, Antoine, who then encouraged him to move to the studio of Philippe Sauvan (1697-1792), the leading master in Avignon. Sauvan supplied altarpieces to local churches and decorative works and mythologies for grand houses in the area. After this apprenticeship Vernet worked in Aix-en-Provence with the decorative painter Jacques Viali ( fl 1681- 1745), who also painted landscapes and marine pictures. In 1731 Vernet independently produced a suite of decorative overdoors for the h?tel of the Marquise de Simiane at Aix-en-Provence; at least two of these survive (in situ) and are Vernet's earliest datable landscapes. These are early indications of his favoured type of subject, and Vernet would have studied works attributed to such 17th-century masters as Claude Lorrain, Gaspard Dughet and Salvator Rosa in private collections at Aix and Avignon. Three years later Joseph de Seytres, Marquis de Caumont, who had previously recommended Vernet to the Marquise de Simiane, offered to sponsor a trip to Italy.
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