Sunday, February 22, 2009
My Baby Is Eight Months And Cries For No Reason
Carolus-Duran. (Lille, 1837-Paris, 1917) Umberto Boccioni
Carolus-Duran. (Lille, 1837-Paris, 1917). French painter. Son of an innkeeper, was formed in Lille with François Souchon, a disciple of David. First established in Paris in 1853, made copies in the Louvre and met through Astruc, old friend, Courbet. Trabaría after the Swiss Academy friendship with Fantin-Latour and known to Manet and Berthe Morisot, who also joined by an intimate friendship. Between 1862 and 1866 was in Rome thanks to a pension from the City of Lille. The medal he got at the Salon of 1866 with the killer (Palais des Beaux-Arts, Lille), bought by the state allowed him to travel to Spain, where he lived between 1866 and 1868. The success achieved in the Salon of 1869 with the lady of the glove (Musée d'Orsay, Paris), a portrait of his wife, allowed to settle permanently in Paris, where he continued to forward a brilliant career as a portraitist and got all kinds of distinctions, although the price of getting lost in a painting 
surface increasingly characterized by virtuosity and deceptive ease. Like other artists of his time, it is likely that the interest of Carolus-Duran English painting came from their attendance at the 1850, the realistic Parisian circles. In any case, seems to have actually discovered in Rome at the Velázquez portrait of Pope Innocent X (Galleria Doria Pamphilj, Rome), who copied the oil and, apparently, always carried a photograph. His stay in Spain, the news barely have lasted despite more than two years, which could be encouraged by the comments he made Astruc and Manet, who had been in Madrid in previous years, must be seen as " a trip to Velázquez ", which must have been copied repeatedly, although
name only appears on the register of copyists del Prado between 10 and December 19, 1866. It known copies of The Jester Don Diego de Acedo, "El Primo" (Senate, Paris) and a Calabacillas The Fool (1879, Ministère des Finances, Paris), but we know that Gautier had another one Nain barbu (probably Don Sebastian de Morra) and the traces found in his paintings further show that due to several more. Moreover, from his stay in Madrid, Carolus-Duran's admiration for Velázquez practice gained exclusive characters. It appears to justify their claims to be the legitimate successor of Velazquez at the time, boasted a distant English ancestry and was fond of saying identifying with the teacher, "Velázquez and me." On the other hand, the repeated advice to his students was always the same: "Velázquez, Velázquez, Velázquez studied relentlessly." The traces of it in his own paintings are limited, however, some portraits taken in Spain, as the portrait of the painter Mathias Moreno (Palais des Beaux-Arts, Lille), in which he adopts a pose similar to that of Velazque z 
and Las Meninas in Madrid earned him a third-class medal at the National Exhibition of Fine Arts in 1866, his own Self Portrait (1867, Prado, cataloged in the Museum as a portrait of Matías Moreno) chromaticity close to Velazquez, and some other facts and in France in the years immediately after his return. Among these, the portrait of Hector Brame child (1871, private collection), which literally followed the pose of Prince Baltasar Carlos as Hunter, Velázquez, and used a subtle range of grays, browns and greens, is 
perhaps the closest to the spirit of the master and one of the few who used his teachings in the modern sense. Instead, the lady of the glove, a picture in which the spatial and chromatic treatment of the portraits Velázquez is used to revitalize, "modernized", the academic tradition elegant portrait, already showed, despite being made just after his return from Spain, the limitations of his approach to Velázquez. His work as a teacher at L'Atelier des élèves de Monsieur Carolus-Duran, which opened in spring 1873 and in which they formed, among others, Stevenson (author of a groundbreaking paper on Velázquez, published in 1895, which presented to it as the father of modern painting) and Sargent (who, following in his footsteps, came to Madrid in 1879 to study the works of Seville), would, however, basic appreciation of English painting in the last third nineteenth century. 
surface increasingly characterized by virtuosity and deceptive ease. Like other artists of his time, it is likely that the interest of Carolus-Duran English painting came from their attendance at the 1850, the realistic Parisian circles. In any case, seems to have actually discovered in Rome at the Velázquez portrait of Pope Innocent X (Galleria Doria Pamphilj, Rome), who copied the oil and, apparently, always carried a photograph. His stay in Spain, the news barely have lasted despite more than two years, which could be encouraged by the comments he made Astruc and Manet, who had been in Madrid in previous years, must be seen as " a trip to Velázquez ", which must have been copied repeatedly, although 
name only appears on the register of copyists del Prado between 10 and December 19, 1866. It known copies of The Jester Don Diego de Acedo, "El Primo" (Senate, Paris) and a Calabacillas The Fool (1879, Ministère des Finances, Paris), but we know that Gautier had another one Nain barbu (probably Don Sebastian de Morra) and the traces found in his paintings further show that due to several more. Moreover, from his stay in Madrid, Carolus-Duran's admiration for Velázquez practice gained exclusive characters. It appears to justify their claims to be the legitimate successor of Velazquez at the time, boasted a distant English ancestry and was fond of saying identifying with the teacher, "Velázquez and me." On the other hand, the repeated advice to his students was always the same: "Velázquez, Velázquez, Velázquez studied relentlessly." The traces of it in his own paintings are limited, however, some portraits taken in Spain, as the portrait of the painter Mathias Moreno (Palais des Beaux-Arts, Lille), in which he adopts a pose similar to that of Velazque z 
and Las Meninas in Madrid earned him a third-class medal at the National Exhibition of Fine Arts in 1866, his own Self Portrait (1867, Prado, cataloged in the Museum as a portrait of Matías Moreno) chromaticity close to Velazquez, and some other facts and in France in the years immediately after his return. Among these, the portrait of Hector Brame child (1871, private collection), which literally followed the pose of Prince Baltasar Carlos as Hunter, Velázquez, and used a subtle range of grays, browns and greens, is 
perhaps the closest to the spirit of the master and one of the few who used his teachings in the modern sense. Instead, the lady of the glove, a picture in which the spatial and chromatic treatment of the portraits Velázquez is used to revitalize, "modernized", the academic tradition elegant portrait, already showed, despite being made just after his return from Spain, the limitations of his approach to Velázquez. His work as a teacher at L'Atelier des élèves de Monsieur Carolus-Duran, which opened in spring 1873 and in which they formed, among others, Stevenson (author of a groundbreaking paper on Velázquez, published in 1895, which presented to it as the father of modern painting) and Sargent (who, following in his footsteps, came to Madrid in 1879 to study the works of Seville), would, however, basic appreciation of English painting in the last third nineteenth century. 
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