生活

乔治Croegaert出生在安特卫普。他就读于安特卫普美术学院。1876年他搬到巴黎,他仍然积极作为一个艺术家的余生。他有一个成功的职业生涯作为一个肖像和流派的画家。他的画作好评如潮,被英国和美国收藏家追捧。他经常在展出巴黎沙龙在1882年和1914年之间,1888年在维也纳。

他1923年在巴黎死于一个长期而成功的职业生涯。

工作

一般

Croegaert最初高度详细的静物画,画鸟和花为主题,偶尔户外风格的场景。他建立了一个职业沙龙的画像迷人的年轻女性穿着华丽的面料在豪华的房间里。他还被誉为主要艺术家最基本的绘画流派的,红衣主教的幽默表示从事各种世俗活动在奢华的环境中。他的作品非常叙述和对象在后台支持的故事画。他的画的特点是由一个高加工度和丰富的调色板。

社会的肖像

Croegaert的大部分的画像优雅的年轻女性奢华的细节。他的关系的影响,1雅各Croegaert-Van布莉被怀疑在优雅和他的现实主义风格。当他抵达巴黎肖像绘画描绘了当代的生活方式,时尚的城市居民已经成为流行。这一趋势在1850年代末开始在巴黎比利时画家阿尔弗雷德·史蒂文斯,然后通过其他比利时画家在巴黎等工作查尔斯Baugniet和古斯塔夫·伦纳德·德·Jonghe和法国人奥古斯特·Toulmouche.到1860年代末有一个现成的市场类型场景的资产阶级人物,通常富有魅力的年轻女性,在奢华的环境中的爆发好时代在1870年代,这种类型的绘画描绘时尚女性在内部流行在巴黎沙龙。

社会的高度写实的描写Croegaert女性通常有点讽刺意味。这是清晰的在他眨眼的当代时尚人的特征和东方主义在他的画作读书的女人和东方的梦想,女性中出现克服与日本和东方艺术的迷恋。

小规模的肖像

在19世纪的最后几十年Croegaert画一系列小的女性肖像呈现在一个高度现实的方式。女性破裂长度和描述似乎融化成苍白的朴素的背景。这些肖像通用标题如一个金发女郎(Russell-Cotes艺术画廊和博物馆,伯恩茅斯)或肖像的Auburn-Haired女人(霍沃思美术馆)。艺术家通常对色彩和细节,关心这些绘画的特点是设计的整体效果。

红衣主教的绘画

可能找一个有利可图的利基市场,Croegaert开始油漆最基本的绘画,有时也被称为“反教艺术”。这些画描绘罗马天主教徒红衣主教通常在奢华的环境中从事一些平庸的活动。乔治Croegaert并不是唯一在巴黎艺术家练习在这个流派。人出了名的类型包括意大利安德里亚Landini和法国人吉安•乔治Vibert查尔斯•爱德华埃马塞尔Brunery.通过描绘红衣主教参与活动,如批准艺术家的裸体模特,纸牌游戏,过度或华丽的吃喝和放纵的消遣等集邮和绘画,这些画家开起了玩笑过度,有时堕落的生活方式的上层天主教神职人员。显然有一个大的需求这些画就是明证,所以许多艺术家在这个流派。Croegaert的红衣主教画作的基调是幽默的和轻微的嘲笑而不是公然反。Croegaert非常详细的技术非常适合这种风格,因为它允许他描述过度的红衣主教的生活方式在一个华丽的家具的环境、挂毯、玻璃和银器真实详细地呈现。他特别在捕捉生动的红色和紫色的红衣主教的长袍和描述和幽默的脸他有点可怜的科目。

Life

Georges Croegaert was born in Antwerp. He studied at the Antwerp Academy of Fine Arts. He moved to Paris in 1876 where he remained active as an artist for the rest of his life. He had a successful career as a portrait and genre painter. His paintings received critical acclaim and were sought after by English and American collectors. He exhibited regularly at the Paris Salon between 1882 and 1914 and in Vienna in 1888

He died in Paris in 1923 after a long and successful career.

Work

General

Croegaert painted initially highly detailed still lifes, bird and flower subjects and occasional outdoor genre scenes. He built a career with his salon portraits of glamorous young women dressed in sumptuous fabrics set in luxurious rooms. He also gained a reputation as the leading artist in the genre of ‘cardinal paintings’, humorous representations of cardinals engaged in various mundane activities in lavish surroundings.His works are very narrative and the objects in the background support the story of the painting. His paintings are characterized by a high degree of finish and a rich palette.

Society portraits

Most of Croegaert’s portraits of elegant young women are distinguished by their lavish detail. The influence of his relation, Jan Jacob Croegaert-Van Bree, is suspected in the elegance and realism of his style.^[3] When he arrived in Paris portrait paintings depicting the lifestyle of contemporary, fashionable city dwellers had become popular. The trend was started in Paris in the late 1850s by the Belgian painter Alfred Stevens and was then adopted by other Belgian painters working in Paris such as Charles Baugniet and Gustave Léonard de Jonghe and the Frenchman Auguste Toulmouche.^[5] By the late 1860s there was a ready market for genre scenes with bourgeois figures, usually young glamorous women, depicted in sumptuous surroundings.^[6] With the onset of the Belle Epoque in the 1870s, this type of paintings depicting fashionable women set in an interior became popular at the Paris Salon.

The highly realistic depictions of Croegaert of society women have usually a slightly ironic undertone. This is clear in his wink at the contemporary fashions of Japonism and Orientalism in his paintings of The Reading Woman and the Dreams of the Orient, where the women depicted appear overcome by their infatuation with Japanese and Oriental art.

Small-scale portraits

In the last decades of the nineteenth century Croegaert painted a series of small portraits of women rendered in a highly realistic manner. The women are depicted at bust length and appear to melt into the pale unadorned backgrounds. These portraits have generic titles such as A Blonde (Russell-Cotes Art Gallery and Museum,Bournemouth) or Portrait of an Auburn-Haired Woman (Haworth Art Gallery). The artist's usual eye for colour and detail and a concern for the overall effect of design characterize these paintings.

Possibly looking for a lucrative niche in the market, Croegaert started to paint ‘cardinal paintings’, sometimes also referred to as ‘anti-clerical art’. These paintings depict Roman Catholic cardinals in a sumptuous setting typically engaging in some banal activity. Georges Croegaert was not the only artist in Paris practicing in this genre. Others who made a name in the genre include the Italian Andrea Landini and the Frenchmen Jehan Georges Vibert, Charles Edouard Delort and Marcel Brunery.^[7] By depicting cardinals participating in activities such as ‘approving the artist’s nude model', card games, excessive or sumptuous eating and drinking and indulgent pastimes such as philately and painting, these painters poked fun at the excessive and sometimes debauched lifestyles of the upper echelons of the Catholic clergy.^[3] There was clearly a large demand for these paintings as evidenced by the fact that so many artists worked in this genre. The tone of Croegaert’s cardinal paintings was humorous and slightly mocking rather than overtly anti-clerical. Croegaert’s very detailed technique was perfectly suited for this genre as it allowed him to depict the excesses of the cardinals' lifestyle amid an environment of ornate furnishings, tapestries, glass and silverware rendered in realistic detail. He was particularly accomplished in capturing the vivid reds and purples of the cardinals’ robes and the characterisation and humour in the faces of his somewhat pathetic subjects