杰.贝劳德Béraud, Jean（1848年1月12日—1935年10月4日），法国画家，
在红色和金色交响
Beraud出生在圣彼得堡。他的父亲(也称为Jean)是一位雕刻家,可能是网站的工作圣以撒大教堂在他儿子的出生。Beraud的母亲是吉纳维芙Eugenie Jacquin;Beraud的父亲死后,全家搬到了巴黎。Beraud在接受教育的过程律师直到在占领巴黎普法战争在1870年。
Beraud成了学生莱昂Bonnat,展出他的作品沙龙第一次在1872年。然而,他直到1876年才获得认可,从葬礼回来的路上。他表现出社会的法国Watercolorists在1889年世界博览会在巴黎。
一个大风天蓬德艺术
咖啡馆Gloppe
他画了许多巴黎期间日常生活的场景好时代的风格是介于学术沙龙的艺术的印象派画家。他收到了军团肯在1894年。
Beraud的画作通常包括truth-based 19世纪末期的幽默和嘲讽巴黎生活,随着频繁的表象圣经字符然后当代的情况。画如抹大拉的马利亚的法利赛人当展出,引起争议,因为这些主题。
到19世纪末,Beraud更少的时间献给自己的绘画但在众多展览委员会,包括沙龙de la法国国家。Beraud从未结婚,没有孩子。他死于巴黎10月4日,1935年,被埋在蒙帕纳斯公墓他的母亲旁边。
在法国,Beraud很受欢迎,尤其是喜欢的家伙de莫泊桑称他“可爱的敌人”(Le +夏蒙des fantaisistes)。[2]
然而,他的工作是完全忽视了艺术历史学家的时期。革命后,俄国艺术家收到Beraud与讽刺的工作,看到他们的体现西方商业消费,沉溺在他们看来,富裕的中产阶级的口味。对印象派绘画风格逐渐从学术。然而,虽然主要的印象派画家逃离混乱的巴黎和周边地区的画风景,Beraud——就像他的朋友爱德华。马奈(1832 - 1883),在他们的一些作品,埃德加德加(1834 - 1917),描绘了城市生活。Beraud所使用的艺术技巧,特别是,当画所谓la salle Graffard,后来成为经典。图片的上半部分是隐藏在一盏灯阴霾,音乐家和观众描绘在前台,而表演者较暗的背景下,脱颖而出
Béraud was born in Saint Petersburg. His father (also called Jean) was a sculptor and was likely working on the site of St. Isaac's Cathedral at the time of his son's birth. Béraud's mother was one Geneviève Eugénie Jacquin; following the death of Béraud's father, the family moved to Paris. Béraud was in the process of being educated as a lawyer until the occupation of Paris during theFranco-Prussian war in 1870.
Béraud became a student of Léon Bonnat, and exhibited his paintings at the Salon for the first time in 1872. However, he did not gain recognition until 1876, with his On the Way Back from the Funeral. He exhibited with the Society of French Watercolorists at the 1889 World's Fair in Paris.
He painted many scenes of Parisian daily life during the Belle Époque in a style that stands somewhere between the academic art of the Salon and that of the Impressionists. He received the Légion d'honneur in 1894.
Béraud's paintings often included truth-based humour and mockery of late 19th-centuryParisian life, along with frequent appearances of biblical characters in then contemporary situations. Paintings such as Mary Magdalene in the House of the Phariseesaroused controversy when exhibited, because of these themes.
Towards the end of the 19th century, Béraud dedicated less time to his own painting but worked on numerous exhibition committees, including the Salon de la Société Nationale. Béraud never married and had no children. He died in Paris on October 4, 1935, and is buried in Montparnasse Cemetery beside his mother.
In France, Béraud was popular, in particular, liked by Guy de Maupassant who called him "adorable's adversaries" (Le plus charmant des fantaisistes).[2]
However, his work is completely ignored by art historians of the period. After the Revolution, Russian artists received Béraud's work with irony, seeing them as the embodiment of the Western commercial consumption, indulging in their opinion, in the rich middle-class tastes. Painting style gradually shifted from academic towards impressionism. However, while the major Impressionists fled the chaotic Paris and painted landscapes of the surrounding areas, Béraud - like his friend Édouard Manet (1832-1883), and in some of their paintings, Edgar Degas (1834-1917), depicted the urban life. Artistic techniques used by Béraud, in particular, when drawing the so-called À la salle Graffard, later became a classic. The upper part of the picture is hidden in a light haze, the musicians and spectators are depicted in the foreground, while performers stand out against a darker background
1、本站美术网信息均来自于美术家自己或其朋友、网络等方式，本站无法确定每条信息或事件的真伪，仅做浏览者参考。
2、只要用户使用本站则意味着该用户以同意《本站注册及使用协议》，否则请勿使用本站任何服务。
3、信息删除不收任何费用，VIP会员修改信息终身免费(VIP会员点此了解)。
4、未经本站书面同意，请勿转载本站信息，谢谢配合！
