生活

Gleyre生于Chevilly洛桑附近。他的父母去世时,八、九岁,他是由一个叔叔法国里昂,他把他送到城市的工业学校。他开始了正式的艺术教育在里昂Bonnefond之前,搬到巴黎,在那里他进入学院的Beaux-Art下Hersent。他还参加了瑞士Academie和水彩工作室的技术进行了研究理查德Parkes Bonington.然后他去了意大利,在那里他成为了熟悉霍勒斯韦尔和路易斯·利奥波德罗伯特.

通过控股的建议,他被美国旅行者选择小约翰·洛厄尔陪他旅行圆东地中海,记录场景和他们会见了人类学的学科。他们离开意大利1834年春天和访问希腊,土耳其和埃及,他们一直在一起,直到1835年11月,当洛厄尔离开印度。Gleyre继续他的旅行在埃及和叙利亚,直到1838年才回到法国。他回到里昂在破碎的卫生,攻击眼炎或眼部的炎症,在开罗,在发烧黎巴嫩.

恢复他继续巴黎,建立适度的工作室在大学街,开始仔细的想法已慢慢形成自己在他的心中。提到两个装饰面板戴安娜离开浴室,和一个年轻的努比亚几乎第一个水果他的天才,但这些直到很久以后,才吸引公众的注意和他的绘画几乎开了他的艺术生涯是圣约翰的末日,发送到沙龙1840股。这在1843年之后的晚上,收到了第二类勋章,和后来成为广受欢迎的标题下失去了幻想。它描绘了一个诗人坐在银行的一条河,头部下垂,疲倦的姿势,让他七弦竖琴从一个粗心的手滑,可悲的是凝视着明亮的少女是谁的歌慢慢死于他的耳朵是他们的船慢慢地从他的视力。

尽管这些第一的成功企业,Gleyre退出公共竞争,和安静的度过了自己的余生奉献给他的艺术理想,既不寻求简单的人群的掌声,将他的艺术转化为强化和财富的一种手段。1845年之后,当他表现出分离的使徒,他贡献了什么沙龙1849年除了酗酒的女人的舞蹈。然而他工作稳定和富有成效。他有一个“无限的容量以苦,”,当被问及他什么方法获得这样不可思议的完美工艺,他会回答,“始终在y微笑。”多年来经常干预之间的第一个概念及其体现,年之间经常第一和最后阶段的体现。景观显然是完成,甚至他的艺术家会考虑做;Gleyre就意识到他没有发现他的天空。”

Gleyre成为有影响力的作为一名教师,接管工作室的工作室保罗Delaroche主要私人教学——然后——1843年在巴黎工作室。他的学生中Jean-Leon Gerome,jean - louis亨茂,奥古斯特·Toulmouche印象派画家,惠斯勒和几个:莫奈、雷诺阿和Bazille.他没有他的学生收取费用,虽然他预计他们帮忙支付的租金和模型。他们还在学校的运行。

尽管他住在几乎完全退出公共生活,他在政治的兴趣,是一个贪婪的政治杂志的读者。有一段时间,路易-菲力浦,他的工作室一种自由俱乐部的会合。过去——在所有的灾难降临他的国家,他是未来的希望,“la雷森finira好par得到存在。“这是在参观回顾展览,代表被掳的打开阿尔萨斯和洛林1874年5月5日,他突然去世。他从来没有结婚。

他离开了未完成的人间天堂,一幅画,泰纳描述为“纯真的梦想,幸福和美丽的亚当和夏娃站在天堂的崇高和欢乐的环境包含在山,晚上值得同行。他的其他作品包括洪水、代表两个天使超速行驶在荒凉的地球破坏水域刚刚开始退休,留下可见他们造成的破坏;Lemanus之战,一块精心设计,拥挤的但不妨碍性的数据,并给予罚款表达动作的各种乐队的战士和逃犯,浪荡子,艺术家的冒险的比喻母亲的爱的新元素,忏悔的青年的欢迎,显示了母亲的心,认为更少的比回报的悔改,露丝和波阿斯,尤利西斯,娜乌西卡;大力神的脚下翁法勒;年轻的雅典,或者,它通常被称为,莎孚;密涅瓦和女神,维纳斯和阿多尼斯,达佛涅斯和克洛伊;爱和命运三女神。他还留下了相当数量的素描和水彩画,和许多肖像,其中的愁容海因里希海涅,刻在Revue des两个蒙德1852年4月。克莱门特目录的作品有683个条目,包括草图和研究。

Life

Gleyre was born in Chevilly, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the city's industrial school.^[3] He began his formal artistic education in Lyon underBonnefond, before moving to Paris, where he enrolled at the École des Beaux-Art under Hersent. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington. He then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert.

It was through Vernet's recommendation that he was chosen by the American traveller John Lowell Jr. to accompany him on his journeys round the eastern Mediterranean, recording the scenes and ethnographic subjects they met with. They left Italy in spring 1834 and visited Greece, Turkey and Egypt, where they remained together until November 1835, when Lowell left for India. Gleyre continued his travels around Egypt and Syria, not returning to France until 1838. He returned to Lyons in shattered health, having been attacked withophthalmia, or inflammation of the eye, in Cairo, and struck down by fever inLebanon. 

On his recovery he proceeded to Paris, and, establishing a modest studio in the rue de Université, began carefully to work out the ideas which had been slowly shaping themselves in his mind. Mention is made of two decorative panels Diana leaving the Bath, and a Young Nubian as almost the first fruits of his genius; but these did not attract public attention until much later, and the painting by which he practically opened his artistic career was the Apocalyptic Vision of St John, sent to the Salon of 1840.This was followed in 1843 by Evening, which received a medal of the second class, and afterwards became widely popular under the title Lost Illusions. It depicts a poet seated on the bank of a river, with his head drooping and a wearied posture, letting his lyre slip from a careless hand, and gazing sadly at a bright company of maidens whose song is slowly dying from his ear as their boat is borne slowly from his sight.In spite of the success of these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1845, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Dance of the Bacchantes in 1849. Yet he worked steadily and was productive. He had an "infinite capacity of taking pains," and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, "En y pensant toujours." Many years often intervened between the first conception of a piece and its embodiment, and years not infrequently between the first and the final stage of the embodiment itself. A landscape was apparently finished; even his fellow artists would consider it done; Gleyre alone was conscious that he had not "found his sky."

Gleyre became influential as a teacher, taking over the studio of studio of Paul Delaroche – then the leading private teaching atelier in Paris – in 1843. His students included Jean-Léon Gérôme, Jean-Louis Hamon, Auguste Toulmouche, Whistler and several of the Impressionists: Monet, Renoir, Sisley, and Bazille.He did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school.

Though he lived in almost complete retirement from public life, he took a keen interest in politics, and was a voracious reader of political journals. For a time, under Louis Philippe, his studio had been the rendezvous of a sort of liberal club. To the last — amid all the disasters that befell his country — he was hopeful of the future, "la raison finira bien par avoir raison." It was while on a visit to the Retrospective Exhibition, opened on behalf of the exiles from Alsace and Lorraine, that he died suddenly on 5 May 1874.He had never married.

He left unfinished the Earthly Paradise, a picture, which Taine described as "a dream of innocence, of happiness and of beauty — Adam and Evestanding in the sublime and joyous landscape of a paradise enclosed in mountains, a worthy counterpart to the Evening. His other works includeDeluge, which represents two angels speeding above the desolate earth from which the destroying waters have just begun to retire, leaving visible behind them the ruin they have wrought; the Battle of the Lemanus, a piece of elaborate design, crowded but not encumbered with figures, and giving fine expression to the movements of the various bands of combatants and fugitives; the Prodigal Son, in which the artist has ventured to add to the parable the new element of mother's love, greeting the repentant youth with a welcome that shows that the mother's heart thinks less of the repentance than of the return; Ruth and Boaz; Ulysses and Nausicaa;Hercules at the Feet of Omphale; the Young Athenian, or, as it is popularly called, Sappho; Minerva and the Nymphs; Venus and Adonis;Daphnis and Chloë; and Love and the Parcae. He also left a considerable number of drawings and watercolours, and a number of portraits, among which is the sad face of Heinrich Heine, engraved in the Revue des deux mondes for April 1852. In Clement's catalogue of his works there are 683 entries, including sketches and studies.