阿里·谢弗（Ary Scheffer 1795-1858）荷兰画家，出生于多德雷赫特。阿里·谢弗的父亲也是是一个画家。

在阿里·谢弗所生活的时代，浪漫主义已经开始流行，在当时的法国，德拉克洛瓦、泰奥多尔·席里柯等人色彩亮丽的浪漫主义风格广受欢迎。然而阿里·谢弗却并没有表现出对浪漫主义的兴趣，始终坚持自己的风格，被后人称之为“冷冷经典”。

早期，画家阿里·谢弗经常从但丁、拜伦、歌德等作家的文学和诗歌作品中寻找灵感，创作了《浮士德疑古》、《玛格丽特在魔宴》、《玛格丽特离开教堂》、《花园城》和《玛格丽特之井》等作品。后来，阿里·谢弗的创作逐渐转向了宗教题材。

阿里·谢弗还是一位多才多艺的画家，曾研究过肖邦、李斯特等知名音乐家的作品。1858年6月15日画家阿里·谢弗在阿让特伊去世。

生活

雅伯的儿子约翰·伯纳德•雅伯(1765 - 1809),一个肖像画家出生在Homberg在欧姆或卡塞尔年轻时曾搬到荷兰,然后呢科妮莉亚Lamme(1769 - 1839)微型画像画家和女儿的多德雷赫特山水画家阿里Lamme后,谁Arij(后来氩)命名。他有两个兄弟,记者和作家卡雷尔·阿诺德雅伯(1796 - 1853)和画家•雅伯(1798 - 1862)。他被他的父母和参加了教阿姆斯特丹学院从11岁。1808年,他的父亲成为法院的画家路易波拿巴在阿姆斯特丹,但一年后他去世。的鼓励下威廉Bilderdijk,他搬到里尔为进一步研究死后他的父亲。1811年,他和他的母亲对他的职业生涯中,有一个巨大的影响力搬到巴黎,在那里他学习了美术学院作为一个学生的Pierre-Narcisse吉林。他的兄弟们跟着他们。^[2]

雅伯开始展出巴黎沙龙从1812年开始。他开始成为公认的在1817年和1819年,他被要求做的肖像拉法叶侯爵。也许是因为拉斐特的联系人,雅伯和他的兄弟是政治活动在他们的生活和他成为一位著名的对希腊友善的人.^[2]

1830年雅伯科妮莉亚有了一个女儿。他注册的名字母亲玛丽亚Johanna de Nes,但没有什么是知道她的,她可能科妮莉亚出生后不久死亡。考虑到他的祖母的名字是约翰娜•德•Nes已经推测他科妮莉亚的母亲的名字保密不妥协的一个贵族家庭的声誉。科妮莉亚雅伯(1830 - 1899)成为雕塑家和画家在她自己的权利。^[3]孙女雅伯的母亲不知道她的名字,直到1837年,她照顾她直到她去世后仅仅两年后。^[2]雅伯成为会员的荷兰皇家学院在1846年,并于1851年辞职。^[4]

雅伯的指挥官荣誉军团勋章在1848年。作为一个队长加尔达国家他陪同王室逃离杜伊勒里宫和护送公爵夫人d 'Orleans到此类des委任她徒然提出她的儿子成为下一个法国的君主。雅伯的军队作战Cavaignac在巴黎人民起义,但他是如此震惊的残忍和仇恨政府一边和下层阶级的痛苦,他退出政治活动,并拒绝让家族的肖像拿破仑三世。1850年3月16日,他娶了苏菲马林,将军的遗孀Baudrand当年11月6日,他终于成为了一名法国公民。他继续频繁前往荷兰,并前往比利时、德国和英国,但心脏病减缓了他,最终结束了自己的生命在1858年夏天在他的房子里阿让特伊.^[2]他是埋在Cimetiere de蒙马特.

作品

当雅伯离开Guerin的工作室,浪漫主义在法国开始流行起来,等画家吗泽维尔Sigalon,尤金·德拉克洛瓦和西奥多Gericault。雅伯并没有显示出亲和力与他们的工作和发展自己的风格,也被称为“呆板地经典”。^[5]

雅伯经常画从文学主题,特别的作品但丁,拜伦和歌德。两个版本的但丁与贝雅特丽齐保存伍尔弗汉普顿艺术画廊、英国、和波士顿美术博物馆,美国。特别是高度赞扬他弗兰西斯卡达里米尼,创作于1836年。玛丽雅伯的弗兰西斯卡迪里米尼的色调和保罗Malatesta似乎但丁和维吉尔演示了一个场景从一个世界上最著名的史诗,但丁的地狱。在块交织在一起的尸体弗朗西斯卡di里米尼和保罗Malatesta漩涡在永无止境的风暴,是第二个层地狱。运动的幻觉是由信封,这对夫妇的布料,以及弗朗西斯卡的飘逸的头发。这两个数据创建一个对角线相交的大多数画布创造不仅是一种运动,但也给这幅画的不稳定。弗朗西斯卡紧紧地抱着保罗,他把他的脸在痛苦。作为一个看起来密切她可以看到,有一个额外的两个人物形象。隐藏在后台,诗人但丁和维吉尔看通过地狱的九圈。

雅伯的流行《浮士德》如出一辙的画作包括玛格丽特在她轮;浮士德怀疑;玛格丽特在拜魔;学习玛格丽特离开教堂,花园散步,和玛格丽特。1836年,他画了两张图片的歌德的性格可爱的。

他现在转向宗教题材:Christus Consolator(1836)随后Christus酬劳者,牧羊人为首的明星(1837),东方三博士放下冠,基督在橄榄园,基督轴承他十字架,耶稣基督埋葬(1845),和圣奥古斯汀和莫妮卡(1846)。

的一个简化版本的Christus Consolator(今天的主要工作是在Van gogh museum,阿姆斯特丹),失去了70年,在一个看门人的房间重新发现客西马尼路德教会Dassel,明尼苏达州在2007年。^{[需要引证]}它已经恢复并展出明尼阿波利斯艺术研究所.

雅伯也是一个成功的肖像画家,500年完成画像。他的科目包括作曲家弗雷德里克·肖邦和弗朗兹李斯特,拉斐特侯爵,Pierre-Jean de Beranger,阿方斯·德·Lamartine,查尔斯·狄更斯,公爵夫人德布罗意,^[6]塔列朗^[6]和皇后玛丽天使爱美丽.

1846年之后,他不再展示。他坚强与皇室的关系导致失宠的时候,1848年,法兰西第二共和国形成。关在他的工作室,他创作了许多作品,只有在他死后1858年展出。

死后首次展出的作品包括地球的悲伤,和天使宣布复活,他未完成的。他去世的时候,他的声誉受损:虽然他的画作是因其魅力和设施,他们谴责使用颜色差和无生气的情绪。

Life

Scheffer was the son of Johan Bernard Scheffer (1765–1809), a portrait painter born in Homberg upon Ohm or Kassel who had moved to the Netherlands in his youth, and Cornelia Lamme (1769–1839), a portrait miniature painter and daughter of the Dordrecht landscape painter Arie Lamme, after whom Arij (later Ary) was named. He had two brothers, the journalist and writer Karel Arnold Scheffer (1796–1853) and the painter Hendrik Scheffer (1798–1862). He was taught by his parents and attended the Amsterdam drawing academy from the age of 11. In 1808 his father became court painter of Louis Bonaparte in Amsterdam, but he died a year later. Encouraged by Willem Bilderdijk, he moved to Lille for further study after the death of his father. In 1811 he and his mother, who had a large influence on his career, moved to Paris, where he studied at the École des Beaux-Arts as a pupil of Pierre-Narcisse Guérin. His brothers followed them later.^[2]

Scheffer started exhibiting at the Salon de Paris from 1812 on. He started to become recognized in 1817 and in 1819 he was asked to make a portrait of theMarquis de Lafayette. Perhaps because of Lafayette's contacts, Scheffer and his brothers were politically active throughout their lives and he became a prominent Philhellene.^[2]

In 1830 Scheffer had a daughter Cornelia. He registered the name of her mother as Maria Johanna de Nes, but nothing is known about her and she may have died soon after Cornelia's birth. Considering that his own grandmother's name was Johanna de Nes, it has been speculated that he kept Cornelia's mother's name a secret not to compromise a noble family's reputation. Cornelia Scheffer (1830–1899) became a sculptor and painter in her own right.^[3] Scheffer's mother did not know of her namesake granddaughter until 1837, after which she took care of her until she died only two years later.^[2] Scheffer became associate member of the Royal Institute of the Netherlands in 1846, and resigned in 1851.^[4]

Scheffer was made commander of the Legion of Honour in 1848. As a captain of the Garde Nationale he escorted the royal family in their escape from the Tuileriesand escorted the Duchess d'Orléans to the Chambre des Députés where she in vain proposed her son to be the next monarch of France. Scheffer fought in the army ofCavaignac during the popular uprising in Paris, but he was so shocked by the cruelty and hatred from the government's side and the misery of the lower classes that he withdrew from political activity and refused to make portraits of the family of Napoléon III. On March 16, 1850 he married Sophie Marin, the widow of GeneralBaudrand, and on November 6 of that year he finally became a French citizen. He continued his frequent travels to the Netherlands, and made trips to Belgium, Germany and England, but a heart condition slowed him down and eventually ended his life in 1858 in his summer house in Argenteuil.^[2] He is buried in the Cimetière de Montmartre.

Works

When Scheffer left Guérin's studio, Romanticism had come into vogue in France, with such painters as Xavier Sigalon, Eugène Delacroix and Théodore Géricault. Scheffer did not show much affinity with their work and developed his own style, which has been called "frigidly classical".^[5]

Scheffer often painted subjects from literature, especially the works of Dante, Byron and Goethe. Two versions of Dante and Beatrice have been preserved atWolverhampton Art Gallery, United Kingdom, and Museum of Fine Arts, Boston, US. Particularly highly praised was his Francesca da Rimini, painted in 1836. Ary Scheffer’s The Shades of Francesca di Rimini and Paolo Malatesta Appearing to Dante and Virgil illustrates a scene from one of the world’s most renowned epics, Dante Alighieri’s Inferno. In the piece the entwined bodies of Francesca di Rimini and Paolo Malatesta swirl around in the never-ending tempest that is the second circle of Hell. The illusion of movement is created by the drapery that envelopes the couple, as well as by Francesca’s flowing hair. These two figures create a diagonal line that intersects the majority of the canvas creating not only a sense of movement, but also giving the painting an air of instability. Francesca clings to Paolo as he turns his face away in anguish. As one looks closely she can see that there are an additional two figures in the image. Hidden in the background, the poets Dante and Virgil look on as they make their way through the nine circles of Hell.

Scheffer's popular Faust-themed paintings include Margaret at her wheel; Faust doubting; Margaret at the Sabbat; Margaret leaving church; The garden walk, andMargaret at the well. In 1836, he painted two pictures of Goethe's character Mignon.

He now turned to religious subjects: Christus Consolator (1836) was followed by Christus Remunerator, The shepherds led by the star (1837), The Magi laying down their crowns, Christ in the Garden of Olives, Christ bearing his Cross, Christ interred (1845), and St Augustine and Monica (1846).

One of the reduced versions of his Christus Consolator(the major work today to be found in the Van Gogh-museum, Amsterdam), lost for 70 years, was rediscovered in a janitor's closet in Gethsemane Lutheran Church in Dassel, Minnesota in 2007.^{[citation needed]} It has been restored and is on display at the Minneapolis Institute of Arts.

Scheffer was also an accomplished portrait painter, finishing 500 portraits in total. His subjects included composers Frédéric Chopin and Franz Liszt, the Marquis de la Fayette, Pierre-Jean de Béranger, Alphonse de Lamartine, Charles Dickens, Duchess de Broglie,^[6] Talleyrand^[6] and Queen Marie Amélie.

After 1846, he ceased to exhibit. His strong ties with the royal family caused him to fall out of favour when, in 1848, the Second Republic came into being. Shut up in his studio, he produced many paintings that were only exhibited after his death in 1858.

The works first exhibited posthumously include Sorrows of the earth, and the Angel announcing the Resurrection, which he had left unfinished. By the time of his death, his reputation was damaged: though his paintings were praised for their charm and facility, they were condemned for poor use of color and vapid sentiment.