杰.利昂.杰罗姆Jean-Leon Gerome（1824年5月11日——1904年1月10日），法国画家。
中国美术网 09-17 浏览
Jean-Leon Gerome出生Vesoul,Haute-Saone。1840年他去了巴黎,他研究了下保罗Delaroche,他陪同到意大利(1843 - 44)。他参观了弗洛伦斯罗马,梵蒂冈和庞贝古城,但他更喜欢自然的世界。由发烧,1844年他被迫返回巴黎。之后,他返回时,像许多其他学生Delaroche,进入工作室的查尔斯Gleyre和研究有短暂的一段时间。然后他参加了美术学院。1846年,他试图进入著名的Prix de罗马,但在最后阶段的失败是因为他图绘制是不够的。
他的画,公鸡打架(1846),是一种学术活动,描绘一个裸体的年轻人和一个轻轻搭着年轻女子有两个只斗鸡的湾那不勒斯在后台。他给这幅画的沙龙1847年,他获得了三等勋章。这项工作被视为的缩影Neo-Grec运动了(比如Gleyre的工作室Henri-Pierre Picou(1824 - 1895)jean - louis亨茂),并且得到了一位有影响力的法国评论家讯息Gautier.
Gerome放弃他的梦想赢得Prix de罗马和利用他的突然成功。他的画圣母,婴儿耶稣和圣约翰(私人收藏)和阿克那里翁,酒神巴克斯和丘比特(印行,博物馆图卢兹1848年,法国)二等勋章。1849年,他制造了绘画米开朗基罗在他的工作室(也称为)在私人收藏(现在的)和一位女士的肖像安格尔博物馆,一个是).
1851年,他布置一个花瓶,后来提供的皇帝法国的拿破仑三世来艾伯特王子,现在皇家收藏的一部分圣詹姆斯宫,伦敦。他表现出酒神巴克斯和爱,醉倒了,希腊内政和纪念品d 'Italie;1851年帕埃斯图姆(1852),和一个田园(1853)。
杰罗姆·收到一个委员会在1852年,由阿尔弗雷德Emilien伯爵Nieuwerkerke Surintendant拿破仑三世的法院,美术绘画的一大历史的画布,奥古斯都时代。在这画布,他结合了基督的诞生与奥古斯都被征服的国家表示敬意。由于相当多的首付,他能够在1853年君士坦丁堡旅行,一起的演员埃德蒙了。这将是第一个几个前往东:1854年他做了另一个希腊之旅土耳其[3]的海岸多瑙河,出席音乐会的俄罗斯士兵,使音乐的威胁下睫毛。
1853年,杰罗姆·搬到小酒馆,一群工作室Notre-Dame-des-Champs街,巴黎。这将成为会议其他艺术家,作家和演员。乔治·沙娱乐的小剧院的伟大的艺术家工作室时间比如作曲家赫克托耳柏辽兹,约翰内斯·勃拉姆斯和焦阿基诺,罗西尼和小说家讯息Gautier和伊凡屠格涅夫.
1854年,他完成了另一个重要的委员会装饰教堂的圣杰罗姆教堂的圣雪华铃在巴黎。他最后一次圣餐圣杰罗姆的教堂的影响反映了安格尔的学校他的宗教作品。
到1855年展览一个牧羊人,他贡献了一个Pifferaro俄罗斯音乐会和奥古斯都时代,基督的诞生。最后有点困惑效果,但在承认其精湛的呈现状态购买它。然而,适度的绘画,俄罗斯音乐会(也称为娱乐在营里)比他更欣赏巨大的画布。
1856年,他访问了埃及第一次。开始这将预示着许多东方绘画描绘阿拉伯宗教流派场景和北非的风景。
Gerome的声誉是极大地增强了沙龙的1857年收集的一种更受欢迎的作品:决斗:化装舞会后(Conde博物馆,尚蒂伊),埃及新兵穿越沙漠,门农Sesostris和骆驼浇水,画的是批评埃德蒙对.
1858年,他帮助装修巴黎王子拿破仑约瑟夫·查尔斯·保罗·波拿巴庞培城的风格。王子买了他的希腊内部(1850),描绘一个妓院也庞培城的的方式。
在凯撒(1859)Gerome试图回到一个更严重的类的工作,古典的绘画主题,但图片没有兴趣。Phryne前最高法院国王Candaules和苏格拉底发现亚西比德的阿斯帕西娅(1861)引发了一些丑闻的原因选择的科目画家,和他的痛苦的袭击Paul de地和马克西姆Du营。在同一沙龙展出埃及切草,和伦布兰特咬一个蚀刻两个非常详细地完成作品。
他娶了玛丽Goupil(1842 - 1912),国际艺术品商人的女儿阿道夫Goupil。他们有四个女儿和一个儿子。在他的婚姻,他搬到一所房子在街布鲁塞尔,接近音乐厅Folies Bergere。他扩大成一个大的房子,有马厩雕塑工作室下面和画室在顶层。
他开始独立工作室在他的家里在布鲁塞尔街的1860年和1862年之间。
Gerome当选,在他第五次尝试,的一员法国研究所在1865年。已经的骑士军团肯在1867年,他被提升为一名军官。1869年,他被选为英国的荣誉会员皇家艺术学院。普鲁士国王威廉我授予他大红鹰,第三类。他的名声已经成为他被邀请,随着法国最杰出的艺术家,开放的苏伊士运河在1869年。
他被任命为一个三个美术学院的教授。他开始与十六个学生,大多数人都从自己的工作室。他的影响力变得广泛,他是一个普通客人的皇后Eugenie在朝廷贡比涅.
他的主题凯撒的死(1867)在他的历史重复画布内伊元帅的执行,展出1868年的沙龙,尽管官方压力撤出它提高了痛苦的回忆。
Gerome返回成功沙龙在1873年与他的绘画L '大佬 (波士顿美术博物馆),一个丰富多彩的描述宫的主楼梯间红衣主教黎塞留,俗称红枢机主教(L 'Eminence高棉),是谁法国的事实上的统治者在王路易十三从1624年开始。在绘画、弗朗索瓦·勒杜哆嗦的,卷尾修士被称为L '大佬(灰色的红衣主教),下楼梯沉浸在仪式圣经虽然受试者在他面前鞠躬或解决他们的目光在他身上。黎塞留的首席顾问,L '大佬被称为“垂帘听政”,成为已知的定义他的头衔。
当他开始抗议和公开敌视“颓废时尚”印象主义,他的影响开始减弱,他变得过时。但展览后马奈1884年在巴黎,他最终承认,“这不是我想的那么糟糕。”
1896年Gerome画真理的她,试图描述一种幻觉的透明度。因此他欢迎摄影的崛起作为替代他的摄影绘画。1902年,他说:“由于摄影,真相终于离开了她。”
Jean-Leon Gerome死于他工作室1904年1月10日。他被发现在的画像面前伦布兰特真理,接近自己的画出来的。在他自己的要求下,他得到了一个简单的葬礼服务没有鲜花。但是,安魂弥撒曲给出了他的记忆被共和国前总统出席,最著名的政治家,许多画家和作家。他被葬在了蒙马特公墓雕像前的悲伤,他投给他的儿子让他死于1891年。
他的岳父是画家艾梅Morot.
杰罗姆·也是成功的作为雕塑家。他的第一个工作是一个大的青铜雕像角斗士拿着他的脚在他的受害者,向公众显示在1878年的世界博览会。这个青铜是基于他的画的主题Pollice封底(1872)。同年,他展出1878年沙龙的大理石雕像,基于他早期绘画阿克那里翁,酒神巴克斯和丘比特(1848)。
意识到当代的着色大理石(如实验约翰·吉布森)他舞者有三个面具(美术博物馆,卡昂),结合运动和颜色(在1902年)。他未来有色集团皮格马利翁和提供一些绘画的灵感,他把自己描述成大理石会变成肉的雕塑家,哪些(c . 1890)的例子大都会艺术博物馆、纽约聪明的博物馆,芝加哥。
在他的其他作品翁法勒(1887),和的雕像duc d 'Aumale站在前面的城堡的奶油泡芙(1899)。
他开始尝试混合成分,使用浅色大理石雕像,青铜和象牙,镶嵌着宝石和粘贴。他的舞蹈演员于1891年展出。他原尺寸的雕像身材高的美女(1892),在象牙、青铜、和宝石,在展览引起了极大关注英国伦敦皇家学院.
艺术家开始一系列的征服者,造成在金、银、宝石:波拿巴进入开罗(1897);帖木儿(1898);和腓特烈大帝(1899)。
Jean-Léon Gérôme was born at Vesoul, Haute-Saône. He went to Paris in 1840 where he studied under Paul Delaroche, whom he accompanied to Italy (1843–44). He visitedFlorence, Rome, the Vatican and Pompeii, but he was more attracted to the world of nature. Taken by a fever, he was forced to return to Paris in 1844. On his return, he followed, like many other students of Delaroche, into the atelier of Charles Gleyre and studied there for a brief time. He then attended the Ecole des Beaux-Arts. In 1846 he tried to enter the prestigious Prix de Rome, but failed in the final stage because his figure drawing was inadequate.
His painting, The Cock Fight (1846), is an academic exercise, depicting a nude young man and a lightly draped young woman with two fighting cocks, the Bay of Naples in the background. He sent this painting to the Salon of 1847, where it gained him a third-class medal. This work was seen as the epitome of the Neo-Grec movement that had formed out of Gleyre's studio (such as Henri-Pierre Picou (1824–1895) and Jean-Louis Hamon), and was championed by the influential French critic Théophile Gautier.
Gérôme abandoned his dream of winning the Prix de Rome and took advantage of his sudden success. His paintings The Virgin, the Infant Jesus and St John (private collection) andAnacreon, Bacchus and Cupid (Musée des Augustins, Toulouse, France) took a second-class medal in 1848. In 1849, he produced the paintings Michelangelo (also called In his studio) (now in private collection) and A portrait of a Lady (Musée Ingres, Montauban).
In 1851, he decorated a vase, later offered by Emperor Napoleon III of France to Prince Albert, now part of the Royal Collection at St. James's Palace, London. He exhibitedBacchus and Love, Drunk, a Greek Interior and Souvenir d'Italie, in 1851; Paestum (1852); and An Idyll (1853).
In 1852, Gérôme received a commission by Alfred Emilien Comte de Nieuwerkerke,Surintendant des Beaux-Arts to the court of Napoleon III, for the painting of a large historical canvas, the Age of Augustus. In this canvas he combines the birth of Christ with conquered nations paying homage to Augustus. Thanks to a considerable down payment, he was able to travel in 1853 to Constantinople, together with the actor Edmond Got. This would be the first of several travels to the East: in 1854 he made another journey to Greece and Turkey[3] and the shores of the Danube, where he was present at a concert of Russian conscripts, making music under the threat of a lash.
In 1853, Gérôme moved to the Boîte à Thé, a group of studios in the Rue Notre-Dame-des-Champs, Paris. This would become a meeting place for other artists, writers and actors.George Sand entertained in the small theatre of the studio the great artists of her time such as the composers Hector Berlioz, Johannes Brahms and Gioachino Rossini and the novelists Théophile Gautier and Ivan Turgenev.
In 1854, he completed another important commission of decorating the Chapel of St. Jerome in the church of St. Séverin in Paris. His Last communion of St. Jerome in this chapel reflects the influence of the school of Ingres on his religious works.
To the exhibition of 1855 he contributed a Pifferaro, a Shepherd, A Russian Concert, andThe Age of Augustus, the Birth of Christ. The last was somewhat confused in effect, but in recognition of its consummate rendering the State purchased it. However the modest painting, A Russian Concert (also called Recreation in the Camp) was more appreciated than his huge canvases.
In 1856, he visited Egypt for the first time. This would herald the start of many orientalist paintings depicting Arab religion, genre scenes and North African landscapes.
Gérôme's reputation was greatly enhanced at the Salon of 1857 by a collection of works of a more popular kind: the Duel: after the Masked Ball (Musée Condé, Chantilly), Egyptian Recruits crossing the Desert, Memnon and Sesostris and Camels Watering, the drawing of which was criticized by Edmond About.
In 1858, he helped to decorate the Paris house of Prince Napoléon Joseph Charles Paul Bonaparte in the Pompeian style. The prince had bought his Greek Interior (1850), a depiction of a brothel also in the Pompeian manner.
In Caesar (1859) Gérôme tried to return to a more severe class of work, the painting of Classical subjects, but the picture failed to interest the public. Phryne before the Areopagus, King Candaules and Socrates finding Alcibiades in the House of Aspasia (1861) gave rise to some scandal by reason of the subjects selected by the painter, and brought down on him the bitter attacks of Paul de Saint-Victor and Maxime Du Camp. At the same Salon he exhibited the Egyptian Chopping Straw, and Rembrandt Biting an Etching, two very minutely finished works.
He married Marie Goupil (1842–1912), the daughter of the international art dealerAdolphe Goupil. They had four daughters and one son. Upon his marriage he moved to a house in the Rue de Bruxelles, close to the music hall Folies Bergère. He expanded it into a grand house with stables with a sculpture studio below and a painting studio on the top floor.
He started an independent atelier at his house in the Rue de Bruxelles between 1860 and 1862.
Gérôme was elected, on his fifth attempt, a member of the Institut de France in 1865. Already a knight in the Légion d'honneur, he was promoted to an officer in 1867. In 1869, he was elected an honorary member of the British Royal Academy. The King of PrussiaWilhelm I awarded him the Grand Order of the Red Eagle, Third Class. His fame had become such that he was invited, along with the most eminent French artists, to the opening of the Suez Canal in 1869.
He was appointed as one of the three professors at the Ecole des Beaux-Arts. He started with sixteen students, most who had come over from his own studio. His influence became extensive and he was a regular guest of Empress Eugénie at the Imperial Court inCompiègne.
The theme of his Death of Caesar (1867) was repeated in his historical canvas The Execution of Marshal Ney, that was exhibited at the Salon of 1868, despite official pressure to withdraw it as it raised painful memories.
Gérôme returned successfully to the Salon in 1873 with his painting L'Eminence Grise(Museum of Fine Arts, Boston), a colorful depiction of the main stair hall of the palace of Cardinal Richelieu, popularly known as the Red Cardinal (L'Eminence Rouge), who wasFrance's de facto ruler under King Louis XIII beginning in 1624. In the painting, François Le Clerc du Trembly, a Capuchin friar dubbed L'Eminence Grise (the Gray Cardinal), descends the ceremonial staircase immersed in the Bible while subjects either bow before him or fix their gaze on him. As Richelieu's chief adviser, L'Eminence Grisewas called "the power behind the throne," which became the known definition of his title.[4]
When he started to protest and show a public hostility to "decadent fashion" of Impressionism, his influence started to wane and he became unfashionable. But after the exhibition of Manet in the Ecole in 1884, he eventually admitted that "it was not so bad as I thought."
In 1896 Gérôme painted Truth Coming Out of Her Well, an attempt to describe the transparency of an illusion. He therefore welcomed the rise of photography as an alternative to his photographic painting. In 1902, he said "Thanks to photography, Truth has at last left her well."
Jean-Léon Gérôme died in his atelier on 10 January 1904. He was found in front of a portrait of Rembrandt and close to his own painting Truth Coming Out of Her Well. At his own request, he was given a simple burial service without flowers. But theRequiem Mass given in his memory was attended by a former president of the Republic, most prominent politicians, and many painters and writers. He was buried in the Montmartre Cemetery in front of the statue Sorrow that he had cast for his son Jean who had died in 1891.
He was the father-in-law of the painter Aimé Morot.
Gérôme was also successful as a sculptor. His first work was a large bronze statue of a gladiator holding his foot on his victim, shown to the public at the Exposition Universelle of 1878. This bronze was based on the main theme of his painting Pollice verso (1872). The same year he exhibited a marble statue at the Salon of 1878, based on his early painting Anacreon, Bacchus and Cupid (1848).
Aware of contemporary experiments of tinting marble (such as by John Gibson) he producedDancer with Three Masks (Musée des Beaux-Arts, Caen ), combining movement with colour (exhibited in 1902). His tinted group Pygmalion and Galatea provided his inspiration for several paintings in which he depicted himself as the sculptor who could turn marble into flesh, examples of which (c. 1890) are in the Metropolitan Museum of Art, New York, and the Smart Museum, Chicago.
Among his other works are Omphale (1887), and the statue of the duc d'Aumale which stands in front of the château of Chantilly (1899).
He started experimenting with mixed ingredients, using for his statues tinted marble, bronze and ivory, inlaid with precious stones and paste. His Dancer was exhibited in 1891. His lifesize statue Bellona (1892), in ivory, bronze, and gemstones, attracted great attention at the exhibition in the Royal Academy of London.
The artist then began a series of Conquerors, wrought in gold, silver and gems: Bonaparte entering Cairo (1897); Tamerlane(1898); and Frederick the Great (1899).
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！
