欧仁·布丹 （Eugene Boudin ） (1824-1898年)又被译为尤金·布丁。是法国19世纪风景画家。布丹出生于水手之家，他的父亲职业是领航人，从小就将大海的印象深深烙印在布丹童年记忆之中。这也是布丹喜爱描绘港口及大海情景画作的原因所在。布丹终其一生热爱法国西部海岸的景致，因为那里是他的家乡诺曼底。他起初在一家造纸厂做印刷工人，后来在卢浮宫当了一阵制版工，然后又来到了翁佛勒安顿下来，那里的桥是画家的挚爱。他的作品于1857年第一次展出。
石香肠的画作“布列塔尼”
勒阿弗尔港,尤金·路易石香肠(1884)布鲁克林博物馆
出生在翁弗勒尔石香肠港飞行员的儿子,和10岁的小男孩在跑之间的汽船勒阿弗尔和翁弗勒尔。1835年全家搬到了勒阿弗尔,石香肠的父亲开了一家新店文具和相框。这里的年轻的尤金·工作,后来打开自己的小商店。石香肠的父亲因此放弃了航海,和他的儿子也放弃了,没有真正的职业,虽然他保存的水手的最后的日子里,他的性格:坦率、可访问性、和敞开的心扉。
在他的商店,照片被陷害,石香肠接触到艺术家在区域和工作在商店里展出的画作常数Troyon和让小米,他和让-巴蒂斯特·伊莎贝和托马斯时装他遇到了在这段时间里,鼓励年轻的石香肠遵循一个艺术生涯。22岁的他放弃了商业的世界里,开始绘画全职,第二年来到巴黎,然后通过弗兰德斯。1850年,他获得了奖学金,使他搬到巴黎,虽然他经常回到油漆诺曼底从1855年开始,经常出差去了布列塔尼.
在特鲁维尔帆船,1884年,耶鲁大学艺术画廊,保罗·梅隆先生和夫人的集合。
荷兰17世纪大师深刻地影响了他和荷兰画家约翰Jongkind,他已经在法国艺术圈,石香肠是由他的新朋友在户外漆(建议在练习)。他还曾与Troyon和伊莎贝,在1859年实现古斯塔夫·及库尔贝介绍了他查尔斯。波德莱尔第一评论家画石香肠的人才,公众的注意力当艺术家在1859年首次亮相巴黎沙龙.
在1857/58石香肠和年轻人克劳德·莫奈,然后只有18,说服他放弃他的少女漫画图纸和成为一个风景画家,帮助灌输他喜欢明亮的色彩和弹光在水之后明显在莫奈的印象派绘画。后来两个保持一生的朋友和莫奈赞扬石香肠的早期影响。石香肠与莫奈和他年轻的朋友在第一印象派展览在1873年,但从未认为自己一个激进或创新者。
Venice-Seascape在Giudecca,1895,普林斯顿大学艺术博物馆
石香肠的名气越来越大,使他在1870年代广泛旅行。他参观了比利时、荷兰和法国南部,从1892年到1895年做定期前往威尼斯。他继续在巴黎沙龙展览,获得第三名金牌在1881年的巴黎沙龙,和金牌在1889年博览会Universelle。1892年石香肠的骑士军肯有些迟缓的承认他的才华和对他同时代的艺术。
晚他在lifeб回到法国南部躲避健康不佳,很快就认识到,救援可以给他几乎花了,他回到他的家多维尔,死的通道水域和通道的天空下画。
Born at Honfleur, Boudin was the son of a harbor pilot, and at age 10 the young boy worked on a steamboat that ran between Le Havre and Honfleur. In 1835 the family moved to Le Havre, where Boudin's father opened a store for stationery and picture frames. Here the young Eugene worked, later opening his own small shop. Boudin's father had thus abandoned seafaring, and his son gave it up too, having no real vocation for it, though he preserved to his last days much of a sailor's character: frankness, accessibility, and open-heartedness.
In his shop, in which pictures were framed, Boudin came into contact with artists working in the area and exhibited in the shop the paintings of Constant Troyon andJean-François Millet, who, along with Jean-Baptiste Isabey and Thomas Couture whom he met during this time, encouraged young Boudin to follow an artistic career. At the age of 22 he abandoned the world of commerce, started painting full-time, and traveled to Paris the following year and then through Flanders. In 1850 he earned a scholarship that enabled him to move to Paris, although he often returned to paint in Normandy and, from 1855, made regular trips to Brittany.
Dutch 17th-century masters profoundly influenced him, and on meeting the Dutch painterJohan Jongkind, who had already made his mark in French artistic circles, Boudin was advised by his new friend to paint outdoors (en plein air). He also worked with Troyon and Isabey, and in 1859 met Gustave Courbet who introduced him to Charles Baudelaire, the first critic to draw Boudin’s talents to public attention when the artist made his debut at the 1859 Paris Salon.
In 1857/58 Boudin befriended the young Claude Monet, then only 18, and persuaded him to give up his teenage caricature drawings and to become a landscape painter, helping to instill in him a love of bright hues and the play of light on water later evident in Monet's Impressionist paintings. The two remained lifelong friends and Monet later paid tribute to Boudin’s early influence. Boudin joined Monet and his young friends in the first Impressionist exhibition in 1873, but never considered himself a radical or innovator.
Boudin’s growing reputation enabled him to travel extensively in the 1870s. He visited Belgium, the Netherlands and southern France, and from 1892 to 1895 made regular trips to Venice. He continued to exhibit at the Paris Salons, receiving a third place medal at the Paris Salon of 1881, and a gold medal at the 1889 Exposition Universelle. In 1892 Boudin was made a knight of the Légion d'honneur, a somewhat tardy recognition of his talents and influence on the art of his contemporaries.
Late in his lifeб he returned to the south of France as a refuge from ill-health, and recognizing soon that the relief it could give him was almost spent, he returned to his home at Deauville, to die within sight of Channel waters and under the Channel skies he had painted so often.
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