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ART “4” “2”-DAY  05 May v.10.40
^ Died on 05 May 1883: Eva Gonzalès, Mme Henri Guérard, French Impressionist painter born on 19 April 1849.
— Her first introduction to art was through her parents. Her father, Emmanuel Gonzalès (of Spanish origin but naturalized French), was a well-known writer; her mother, a Belgian, was an accomplished musician. The family salon was a meeting place for critics and writers including Théodore de Banville and Philippe Jourde, the director of the newspaper Siècle. At 16 she had art lessons with the society portraitist Charles Chaplin [1825-1891], who ran a studio for women. Gonzalès rented a studio in the Rue Bréda and under Chaplin’s guidance made figure compositions and landscapes, exhibiting at the Salon of 1870 as his student.
— Eva Gonzalès was born in Paris into the family of the writer Emmanuel Gonzalez. In 1865, she began her professional training and took lessons in drawing. In 1869, she met Édouard Manet [23 Jan 1832 – 30 Apr 1883] and became his student and model. She exhibited for the first time at the Salon in 1870. Thereafter she submitted work every year to the Salon. Until 1872, she was strongly influenced by Manet but later developed her own, more personal style. Her watercolors with their bright colors and soft forms achieved great success. During the Franco-Prussian War she stayed in Dieppe. In 1879, she married a brother of the graphic artist Henri Guérard. She died soon after the birth of a son, and five days after Manet.

A Dos d'Âne (636x800pix, 121kb) _ This is one of the finest works of Gonzalès. It demonstrates the pervasive influence that her teacher, Edouard Manet, had upon her style. The brushwork is loose and often transparent and in some areas the beige ground of the canvas is left bare. In many of Manet's own paintings there is a similar, ambiguous relationship between the figures, with one person absorbed in gazing at another who is apparently oblivious to them. In 1879, Gonzalès had married one of Manet's closest friends, the engraver Henri Guérard, who is seen here leaning against the donkey. The artist's sister Jeanne, who was to become Guérard's second wife, gazes out of the picture with languid, heavy-lidded eyes. The cherries gleaming on her straw hat and the touches of red on the donkey's trappings provide the strongest color amongst the predominant dusty greens, grays and blues.
Le Thé aka Sur la Terrace (1875)
Jeanne Gonzalès (1/4 from back) sister of the artist.
Woman in White (1879)
Indolence (1872)
La Toilette
Secretly (1878) _ Reading a book instead of practicing the piano.
Roses in a Glass (1882)
La Dame à l'Éventail (1870, 43x28cm; 800x506pix, 238kb _ ZOOM to 1423x900pix, 791kb _ ZOOM+ to 2546x1608pix)
Enfant de troupe (1870)
Une Loge aux Italiens (1874, 98x130cm)
Le Petit Lever (1876)
La Modiste (1877)
Les Chaussons Blancs (1880, 23x32cm)
^ >Died on 05 May 1913: Henri Moret, French marine and landscape painter, born on 12 December 1856.
— Moret, although from Normandy, lived and worked practically his whole life in Brittany and is regarded as the most important impressionist interpreter of the Breton landscape. After completing his formal education at the École National des Beaux-Arts under Jean-Paul Laurens and Jean-Léon Gérôme, Moret rejected his academic training in favor of the painting techniques of the Impressionists. In 1888, he moved to Pont-Aven where he worked alongside his friends, Paul Gauguin [1848-1903] and Émile Bernard [1868-1941], and was introduced to the tenets of symbolism. After Gauguin left Pont-Aven in 1891, however, Moret returned to his earlier Impressionist style. In 1896, he settled in the nearby fishing village of Doelen where his art, a combination of Impressionist handling of the paint and the subjective treatment of color, reached its maturity.
— First, Moret worked in Paris with Jean Paul Laurens [1838-1921] and debuted at the Salon in 1880. Soon thereafter he liberated himself from the academic artistic principles with which he was nurtured during his training with Jean-Léon Gérôme [1824-1904]. Not long after, he participated in the group of young artists around Gauguin at Pont-Aven and developed a free approach regarding painting technique and practice, including painting in the open air. The following years Moret was to dedicate himself exclusively to the study of various types of landscapes resulting in an enormous production of studies and sketches. Finally he settled in Douelan, where he was completely absorbed by painting marines and seascapes.
— Normand d'origine, Henry Moret devient Lorientais d'adoption. A partir du port de Lorient, il rayonne chaque année le long de la côte à Larmor, au Pouldu, à Doëlan, puis plus loin à Quimper, Douarnenez et la presqu'île de Crozon. Il s'attardent dans les îles : Groix, Belle-Ile, Houat, Ouessant. Au cours d'un séjour à Pont-Aven, en 1888, il fait la connaissance de Gauguin, Bernard, Chamaillard, Jourdan et Laval et s'intègre au petit groupe. Si au départ son art était tributaire de Corot, Courbet et de l'Ecole de Barbizon, à partir de sa rencontre avec Gauguin, Moret est influencé par le synthétisme.
— In love with Brittany where he spent all of his life, he understood the intimate feeling for beings and for things; he ignored nothing. He knew the small ports surrounded by the Breton hills; he noted the red sails on the green and blue seas, the teeming of the fishermen leaving and returning to the dock. His little figurines were excessively studied for their movements. The people and the animals that he placed in his landscapes, of rich and opulent tones were always there at the place where they should be. He examined the horizon with his eye while walking within the nature that he loved. Coasts, forests, valleys, in every season, he observed them with all of his senses and reproduced them accordingly, with all of his spirit and sincerity.
      Throughout the nineteenth and into the early twentieth century, French landscape painting progressed and changed with ever increasing frequency and verve. Its early proponents such as Jean-Baptiste Camille Corot and the Barbizon painters began to change the way artists viewed and interacted with nature, but also influenced the way landscape painting was received. By the 1860s landscape painting had become popular with the public and critics alike. As this genre progressed, works took on new aesthetic dimensions that were determined largely stylistic changes which, beginning in the 1870s, were revolutionized by the Impressionist group. Oil paints in tubes now allowed artists to escape to the country and paint in plein air without hassle. Not only did Impressionism influence artists by changing their way of viewing and translating nature within a momentary reflection, but they introduced a new palette of vibrant and rich colors that allowed the artist to create their own environment within their painting. One of the major schools during this period which essentially created their own distinct style of painting and which was the heir to these traditions in French landscape painting was the school of Pont-Aven, located in Pont-Aven, France, which is now most often recognized by one of its major figures, Paul Gauguin.
     Henry Moret was also a member of the Pont-Aven school, though in his somewhat reclusive nature his name is often not immediately associated with the group. Despite this, Moret was a highly active and intuitive painter. He was of medium height, of a strong stature, a handsome man with soft blue eyes and a blond beard; he was likeable, discreet, warm, and reflective. He was a hard working man, very serious, assiduous, soft-spoken. He would go into the woods or fields, with his materials, and only comes back for meals.
     Moret was born in Cherbourg, in Normandy. His life up to his military service in 1875 remains somewhat of a mystery, but it was during this military period when his artistic career began. While in Lorient for his service, he served under the command of Colonel Jules La Villette who noticed his interests in the arts. He took it upon himself to introduce Moret to a local artist who ran an atelier in the town, Ernest Corroller, a drawing professor. Typical to the area and influential for the direction of Moret’s theme was the fact that Corroller himself was a marine painter and exhibited regularly at the Parisian Salon. Under Corroller, Moret was introduced to a thoroughly academic style of painting which would betray Moret’s style late in life and which relied on the past masters of the French landscape tradition such as Corot and Courbet; thus the palette he and his studies worked with were dark, muted tones atypical to the current artistic trends of the Impressionist group. Even though Corroller presented Moret with traditions of the past, he was the one who not only introduced the theme of marine painting to him, but also introduced him to plein-air painting. With Corroller’s lessons in hand, Moret soon registered at the École des Beaux-Arts in Paris on March 22nd, 1876, taking up residence in the atelier of Lehmann and later, from about 1880-1883, the history painter Jean-Paul Laurens. It was in 1880 that he first exhibited at the Salon, a work entitled La Plage de Locqueltas a Marée Basse; Côte de Bretagne. It was during these early years that, under the influence of his previous training, his paintings recalled the traditions of the Barbizon school.
      During his studies in Paris Moret kept in contact with Corroller and often returned to Brittany. During these years Moret maintained a presence in a small town called Pouldu and continued to send works to the Salon, those relying on imagery based around the coasts of Brittany. Moret continued this artistic lifestyle of moving between cities before more firmly establishing himself at Pont-Aven in 1888, whose small town center had become an artistic refuge based around three hotels at which each of these artists would stay while they worked. Moret stayed at the Gloanec hostel where he came into contact with Gauguin, Ernest Ponthier de Chamaillard, Émile Jourdan, and Charles Lavant, among others. By July, Moret’s atelier had become the usual meeting place for a number of painters, where, on the first floor, a man by the name of Kerluen would give art lessons. Once autumn arrived, the painters dispersed but Moret remained at Pont-Aven. The next following years saw both Moret and his fellow artists move between Pouldu and Pont-Aven, meeting regularly in each of these towns to nurture their artistic inclinations. It was Moret who had first established a presence in Pouldu, before the other artists of the group.
      During his period of activity around Pont-Aven and the other artists, Moret’s work showed an interest not only in coastal and marine scenes, but also figural scenes which, in some instances, began to embrace the world of symbolism, most likely influenced by Gauguin. While his work began to rely on symbolist themes, his style was indebted somewhat to Impressionism. It wasn’t until after 1891 that Moret, now no longer under the influence of Gauguin since he had departed France, could begin to work on developing his own style outside of the Pont-Aven school.
      In 1895 Moret made the acquaintance of the gallery owner Durand-Ruel [31 Oct 1831 – 05 Feb 1922] who sponsored some of the most progressive artists across Europe. He entered into an informal contract with Durand-Ruel, and throughout his association with the gallery, completed over 600 paintings. Durand-Ruel also held exhibitions of Moret’s work in both Paris and New York and found a vast clientele for his imagery across the European continent and even with American buyers in cities from across the nation, such as Minneapolis, Portland, Pittsburgh, and Saint Louis. This same year Moret also began exhibiting at the Salon des Independents, where he showed seven pieces of Breton subjects.
      After 1900, Moret’s work took an even more Impressionistic approach, whereby he moved towards the application of small flecks of paint instead of the rather broad and somewhat geometric placement of colors as influenced by the Pont-Aven school. His interest in light effects began to take on new dimensions as he began focus on just landscapes, void of many or any figures and showing an interest in depicting the intangible – the sunsets, storms, and other effects of the atmosphere and nature – especially late in his career, around 1909. Between 1903 and 1911 he was also an active participant at the Salon d’Automne. He remained an active painter into the early twentieth century. He died in Paris.
      It appears that judging simply from the output of Moret’s work while working under Durand-Ruel, over 600 paintings, that he should already be considered a prolific artist. But what Moret’s public during his time did not realize was the additional number of watercolors, drawings, and charcoal studies that he had completed. These were never sold to the public since Moret kept each one of them. It was not until 1983 that the public first glimpsed these important pieces, after Moret’s great grandson, in two shows, another also in 1990, distributed over 800 of these personal works to buyers across the globe. The majority of his paintings, on the other hand, have remained primarily with their owners, totaling almost 800 as well.
      Henry Moret’s work characterizes the diversity of the period in which he was working. Initially influenced by his more classically oriented studies and the style of his predecessors, he quickly became engaged with other artists around Paris before moving to Pont-Aven where a unique artistic colony was established. Here, under the influence of Gauguin and others, Moret was introduced to a different style, a version that Moret would manipulate throughout the rest of his career. By the end, he had reached the definition of his own style based on Impressionism and the love of nature. His light filled palette continues to intrigue audiences today and the presence of his watercolors, drawings, and charcoals provides an important insight into the methods and style of this artist.

–- View of the Customs Cabin, Pourville (1901; 852x1064pix, 178kb)
La Jetée du Port d'Audierne (1900, 38x55cm; 561x800pix, 130kb _ ZOOM to 1437x2048pix, 375kb)
Cliffs at Ouessant, Brittany (1901, 65x81cm; 649x800pix, 146kb _ ZOOM to 1288x1588pix, 481kb)
La Côte Bretonne I (54x65cm; 715x950pix, 590kb)
–- Une vallée en Sedaine, baie de Douarnenez (1912, 47x62cm; 1084x1400pix, 143kb)
–- Environs d'Audierne (1908, 61x51cm; 1131x933pix, 126kb)
–- La barque des pêcheurs en Bretagne (1904, 73x100cm; 1024x1400pix, 141kb)
Men-Du, Finistère (74x92cm; 472x603pix, 73kb) “men du” in Breton, means “black rock”.
The Island of Raguenez, Brittany (1895, 54x65cm; 380x459pix, 117kb) _ detail 1 _ detail 2 _ detail 3 (360x470pix, 165kb)
Paysage de Pont-Aven (1889, 40x60cm; 332x500pix, 58kb) _ Normand d'origine, Moret découvrit la Bretagne pendant son service militaire qu'il fit à Lorient. Puis il s'y établit et de là il rayonna le long de la côte. En 1888, il rencontra Gauguin à Pont-Aven et s'intègra au petit groupe. Son oeuvre a été influencée par cette rencontre. Cette peinture est très proche de différentes oeuvres de Gauguin peintes à la même époque et au même endroit.
Paysage de Bretagne (1890, 33x46cm; 351x500pix, 53kb) _ Ce paysage n'a pu être localisé; c'est sans doute un hameau entre Pont-Aven et Le Pouldu. Il présente la particularité d'avoir été, postérieurement à sa réalisation, signé du nom de Gauguin. Cette fausse signature illustre bien la parenté à cette époque entre les oeuvres de Gauguin et celles de Moret.
98 images at the Athenaeum

Died on a 05 May:

1952 Andrea Francesco Alberto de Chirico “Alberto Savinio” , Italian painter born (full coverage) on 25 August 1891. —(100505)

^ 1931 Paul-Charles Chocarne-Moreau, French painter born in 1855 in Dijon. — He undertook his most important artistic training in Paris, initially in the atelier of the academy teacher, Tony Robert-Fleury, before undertaking further instruction under William Bouguereau. Chocarne-Moreau was under Robert-Fleury’s tutelage when he debuted at the Salon of 1882 with the painting Distractions. He did not exhibit at the Salon of 1883, but returned in 1884 and was listed as a student of both Robert-Fleury and Bouguereau, exhibiting La Part du Braconnier at the Salon. At the 1886 Salon he exhibited Avant le Salon , for which he was given an Honorable Mention. Chocarne-Moreau was also engaging with private patrons since his 1887 Salon entries were portraits. His showings at the annual Salon must have allowed him to create a patron base of his own; this may have also influenced his desire and ability to work primarily with the images involving boyhood. It was most likely for these genre scenes that Chocarne-Moreau garnered the majority of his praise and “considerable success.” His paintings were considered, by at least modern writers commenting on the time, one of the “highlights of the Salon.”
      Prefiguring the imagery of Norman Rockwell, Chocarne-Moreau introduced the French public to the secret scenes of young boys at play, recalling for his audiences the playful deceptiveness that characterized the age of youth. Interest in children and their development had been increasing throughout the nineteenth century and Chocarne-Moreau harnessed this interest to create images that both capitalized upon and popularized this preoccupation. Chocarne-Moreau’s interest in the playful nature of the child’s daily life reflected a continually growing interest in children themselves, a discussion that began during earlier centuries, but which was, by the nineteenth century, visually engrained. The child, ignored during the Middle Ages and the beginning of modern time (longer even within the working classes), considered as small adults, misunderstood in their specificity and their humanity, emerged in the collective sensibility in the XVII an XVIII centuries. It was then that the bourgeoisie and the aristocracy became aware that childhood is an age in life which has its own characteristics, an all particular sensibility and intelligence. It is just this particular character of childhood that Chocarne-Moreau seeked to represent, but not the childhood of the upper class of society, but children of the working class, and young boys to be more specific. He especially favored scenes of young boys’ activity within the church, showing the liveliness behind the solemnity, such as his work, Le Jeu de la Grenouille or La Répétition Générale (1925), both images depicting what young boys truly do when their masters are not watching. Another favorite scene for Chocarne-Moreau is that of the young baker, most often doing anything but baking, or a combination of the two types such as found in Le Petit Journal. In each example, the goal is similar: to represent the dichotomy of the young boys action in relation to their situation. Such a seemingly intentional dichotomy is exactly that which creates the strongly humorous aspect that characterizes paintings by Chocarne-Moreau.
     His color palette appears consistent with his choice of image and recalls similar color schemes used by earlier Realist painters in addition to such vibrant and strikingly emphasized colors, such as red, which also recall Jean-Georges Vibert. Chocarne-Moreau documents these children both at work and at play, telling lively stories within his paintings. It is a slice of the daily life which is of most interest – as the viewer becomes an omniscient spectator to the rivalries, games, menaces, and joys of the relationship between children. While often forgotten in the history of nineteenth century art, the importance of genre scenes, to which Chocarne-Moreau was contributing, was that genre painters searched for new ways to enter the consciousness of the broadest possible public audience. Since genre painting involved the depiction of episodes from daily life, either contemporary or historical, these paintings were regarded as a source of popular entertainment and education. In essence, what made genre painting so popular was that it involved the public intimately: a viewer could find personal references in any number of the stories and characters visualized. Genre painting appealed to a viewer’s feelings. In an age given to the proliferation of newspapers and popular magazines, genre paintings filled with human interest narratives provided concrete visualizations of many of the stores of episodes offered in newspapers and popular novels. While these scenes of children are those for which he is best known to present collectors, it is clear from his Salon entries that he was also interested in portrait and landscape painting. By 1888, Chocarne-Moreau had become a member of the Société des Artistes Français and the following year, took part in the Exposition Universelle where he was awarded a bronze medal. He continued to submit regularly to the annual Salon throughout his career. He died in Neuilly-sur-Seine.
     Chocarne-Moreau sentimentalized images of the childish play of young boys while contributing to the expansion of the boundaries of genre painting. These amusing and often silly anecdotes were a pleasing respite from an often serious period in the history of art and were refreshing in their desire to depict an average day in the life of a young boy and his compatriots. While both the narrative scene and the genre tradition were being challenged, Chocarne-Moreau’s images show that there were still both artists and patrons interested in images with which they could identify. The sheer number of works by Chocarne-Moreau suggest that during his career, there was a large audience interested in purchasing them.
–- The New Friend (645x798pix, 60kb, .ZOOM to 1128x1396pix, 114kb) a young chimney-sweep is eating a roll next to the young bakery delivery boy who gave it to him.
Opportunity makes the thief (1896, 167x129cm; 480x371pix, 37kb) two young chimney-sweeps are picking rolls out of the basket held by a young bakery delivery boy, who is busy reading posters around the corner. —(070107)

^ 1907 Eugène-Alexis Girardet, French painter, specialized in orientalism, born on 31 May 1853. — Relative? of Jules Girardet [1856-1946]? of Édouard-Henri Girardet [31 Jul 1819 – 05 Mar 1880]? — Il est né de parents suisses. Il devint l'élève de Gérôme. Il voyagea très souvent dans les pays du Maghreb à partir de 1874. Some of the places where he stayed are Boughari, El-Kantara, and Bou-Saâda, in Algeria. Il exposa des œuvres orientalistes à l'Exposition Universelle de 1900. Ses œuvres mettent l'accent sur la lumière qu'il réussit à capturer avec bonheur. C'est un peintre exact, aux chauds coloris. LINKS
Souvenir de l'été (1894, 26x41cm)
Camel Train by an Oasis at Dawn (1879, 31x45cm)
Caravan in the Desert (1853x1907cm)
Caravanes de sel dans le désert (50x100cm)
In the Courtyard (60x45cm)
Leaving the Market (68x109cm)
The Almeh (66x92cm)
Passage au village blanc d'El Kantara (24x16cm; 525x700pix, 78kb)
–- Le Lendemain de Noël (etching 25x35cm; 765x1091pix, 82kb)
–- Le Premier Sourire (etching 27x39cm; 796x1155pix, 123kb)
Washerwomen by the Nile (379x569pix, 29kb)
Tailleur arabe sur le pas de sa porte (422x648pix, 40kb)
La prière (615x450pix, 60kb)
Caravane de sel dans le désert (369x750pix, 47kb)
Algériens prenant leur café sous la tente (449x650pix, 53kb)
Voyageurs au repos (411x600pix, 37kb)
Caravane passant au gué, Algérie (418x650pix, 60kb)
Porte ouverte sur Bou-Saäda
Campement bédouin —(070503)

^ 1811 Antoine de Marcenay de Ghuy, French painter and engraver born in 1724.
Self-Portrait (engraving; 876x617pix, 253kb)
Le Comte de Berghe (1782 engraving; 2740x2128pix, 1403kb) _ The pseudonymous Gnatoine d'Avrilenet de Ghal has accomplished the amazing feat of transforming this grayscale portrait into the colorful twin abstractions
      _ Le Compte des Berges (2007; 775x1096pix, 375kb _ ZOOM to 1096x1550pix, 740kb _ ZOOM+ to 1700x2404pix, 1738kb _ ZOOM++ to 2636x3728pix, 4107kb) and
      _ Le Comté de Talhe (2007; 775x1096pix, 375kb _ ZOOM to 1096x1550pix, 740kb _ ZOOM+ to 1700x2404pix, 1738kb _ ZOOM++ to 2636x3728pix, 4107kb).
Turenne (1767 engraving after Philippe de Champaigne) _ Henri de Latour d'Auvergne vicomte de Turenne [11 Sep 1611 – 27 Jul 1675) was a French field marshall. —(070504)

^ 1809 Joseph-Laurent Malaine (or Malines, Mallache), French painter born on 21 February 1745. — {Pas grand'chose de Malaine dans l'internet, mais il n'y a absolument rien de Moncoton, Monlin, Monnylon, Talaine, Toncoton, Tonlin, Tonnylon, Salaine, Soncoton, Sonlin, ou Sonnylon}— Jacques Barraband (or Barraban) was a student of Malaine
Perroquets (1801 colored woodblock wallpaper, 75x160cm; 700x1188pix, 159kb)
Nature Morte aux Fleurs dans un Vase sur un Entablement (1807, 73x58cm; 480x387pix, 17kb) —(060504)

^ 1601 Jacob Willemszoon Delff I, Dutch portrait and militia group painter born in 1550. He moved from Gouda to Delft in May 1582 and lived in a house at Burgwal. He entered the Guild. In his big militia piece of 1592 he shows a monotone and stilted series of 31 heads. He painted large Civic Guard canvases, notably that of the White Flag Militia Company and made a portrait of Paulus van Beresteijn [1548-1625], mayor of Delft in 1601 1608. — He was the father of painters Cornelis Jacobszoon Delff [1571 – 15 Aug 1643 bur.] and Rochus Jacobszoon Delff [1575–], and of engraver Willem Jacobszoon Delff [1580-1638].
Zelfportret van de schilder met zijn gezin (1594, 109x84cm; b&w image, 429x354pix, 60kb) _ detail (b&w, better image, 253x354pix, 35kb gif) _ left to right: Willem, Cornelis, Rochus, the artist, a posthumous portrait of his wife.

Born on a 05 May:

^ 1935 Piero Guccione, Italian painter.
Studio di finestra con interno (1975, 122x38cm; 2893x900pix, 151kb)
Agonia (1980, 179x350cm; 512x980pix, 492kb) a painting made to look like a photograph, not a very interesting one.
Mare Verticale (679x451pix, 153kb) monochrome blue
La spiaggia di Punta Corvo (371x1445pix, 158kb) bichrome: yellow and blue. _ The pseudonymous Pierrot Goocheetwo has combined these four pictures and thoroughly transformed them into the absurdly titled but stunning twin abstractions
      _ Agonizing Labor of an Intern at Sea (2007; 775x1096pix, 375kb _ ZOOM to 1096x1550pix, 740kb _ ZOOM+ to 1700x2404pix, 1738kb _ ZOOM++ to 2636x3728pix, 4107kb) and
      _ Agony at the Window to a Vertical Beach (2007; 775x1096pix, 375kb _ ZOOM to 1096x1550pix, 740kb _ ZOOM+ to 1700x2404pix, 1738kb _ ZOOM++ to 2636x3728pix, 4107kb).
Luna d'Agosto (95x120cm; 380x500pix, 10kb) entirely a featureless blue, except for a narrow dirty greenish yellow strip at the bottom.
Vita e morte dell'Ibiscus (2006, 51x50cm; 592x498pix, 32kb) —(080504)

^ 1768 Ezra Ames, US painter who died on 23 February 1836. He was the son of Jesse and Bette Bent Ames of Framingham, Massachusetts. The boy moved with his family to Staatsburg, New York. In 1790, Ezra Ames was a furniture and carriage painter in Worcester, Massachusetts. About that time, he began to paint portraits - specializing in miniatures. In 1794, he married Zipporah Wood of Upton, Massachusetts. Their first child was born in 1795. In that year he brought his new family to Albany where he had entered the portrait and sign painting business in a waterfront shop on Mark Lane. He advertized gilding and limning and also custom painting on "signs, coaches, chaises, sleighs, standards, etc." By 1800, his modest Washington Street home included several young people. By 1815, he was listed in the city directory as a portrait painter at 41 South Pearl Street. Over the next three decades, he produced more than 500 portraits and other works in a variety of styles, making him Albany's most prolific and significant artist. His handsome portraits represent an album of early nineteenth-century Albany leaders and their families. He was a member of a number of community-based organizations and a director of the Mechanics and Farmers Bank. He was an officer of the Albany Masonic Lodge.
James Rivington (after Gilbert Stuart, 1806; 1033x800pix, 154kb) _ detail (610x681pix, 98kb) the Royal Gazette held by Rivington.
John Scoville (380x299pix, 12kb) —(060504)

^ 1766 Firmin Massot, Geneva Swiss painter, draftsman, and teacher, who died on 16 May 1849. His first teacher was his sister, the portrait painter and engraver Pernette Massot [1761–1828]. In 1788 Massot visited Rome with the painter Jean-Pierre Saint-Ours as a guide. On his return Massot was commissioned to produce several charcoal drawings, including two miniature portraits in profile (1790), probably depicting two young women of the Chavanne family. From 1794, in order to escape the turbulence of the French Revolution he sought refuge at Coppet with Jacques Necker and his wife Suzanne, who introduced him to Lausanne society, where he established a new clientèle.
— Firmin Massot est le quatrième enfant d'André Massot, maître et marchand horloger, et de Marie-Catherine née Boisdechêne. Il a onze ans lorsque son père l'inscrit à l'Ecole publique de dessin de Genève, en janvier 1778. Deux ans plus tard, en 1780, il suit les cours de l'École de dessin d'après nature (d'après le modèle vivant), fondée par la Société des Arts de Genève. Il a pour professeurs Jacques Cassin et Georges Vanière mais aussi des artistes renommés tels que Louis-Ami Arlaud-Jurine et Jean-Etienne Liotard. Wolfgang-Adam Töpffer [1766-1847] et Jacques-Laurent Agasse [1767-1849] figurent également parmi les élèves de l'École de dessin. De 1781 à 1787, Firmin Massot remporte différents prix aux concours annuels organisés par l'École pour les élèves.
     De novembre 1787 à juin 1788, le jeune Massot voyage en Italie et retrouve à Rome des compatriotes: les peintres Jean-Pierre Saint-Ours et Gabriel-Constant Vaucher. En 1789, il expose une "Etude d'après nature" au premier Salon genevois et en 1790, il obtient le Grand Prix d'après nature décerné par la Société des Arts. Dès cette époque, et ce jusqu'en 1800, il peint à plusieurs reprises en collaboration avec ses anciens condisciples, le paysagiste Wolfgang-Adam Töpffer et le peintre animalier Jacques-Laurent Agasse. Exécutées pour des commanditaires fortunés, ces oeuvres communes, où les personnages peints par Massot apparaissent en pied sur fond de paysage, auprès de leurs animaux favoris, rappellent les "conversation pieces" des maîtres anglais du XVIIIème siècle. Parallèlement, Massot élabore des petits portraits en buste peints à l'huile ou dessinés. En avril 1795, à Genève, il épouse Anne-Louise Mégevand [1778-1825], dont il aura trois enfants.
     En 1799, après avoir été adjoint au Comité de dessin de la Société des Arts, Massot est nommé directeur des Ecoles de dessin de la ville de Genève. En 1800, il est élu membre ordinaire de la Société des Arts. En ce début de XIXème siècle, il élabore indifféremment des portraits en pied, des "portraits jusqu'aux genoux" et des portraits en buste. Les fonds figurent soit un paysage, parfois peint par Töpffer (les deux hommes collaborent ainsi jusque vers 1819), soit un intérieur, où apparaissent mobilier, tentures, livres, nécessaire à écrire, boîte à ouvrage. Massot connaît un vif succès de son vivant. Ses contemporains louent son habileté à faire les portraits ressemblants tout comme la qualité technique de sa peinture. Notables genevois, vaudois, bernois, zurichois et leurs familles, étrangers de toutes nationalités de passage ou en séjour à Genève constituent la clientèle du portraitiste. Parmi les plus illustres personnages peints par Massot figurent Mme de Staël, Mme Récamier, Benjamin Constant, l'impératrice Joséphine, la reine Hortense, le colonel William Wickham, Lord et Lady Sandon, Lord Breadalbane.
Mme. de Staël, par Massot     Différents voyages permettent à Massot de rencontrer quelques-uns des peintres les plus renommés de son temps. A Paris en 1807, il fait la connaissance de François Gérard, Jean-Baptiste Isabey et Jules-César-Denis Van Loo. En 1812, à Lyon, il est reçu par Fleury-François Richard, qu'il retrouve à Aix-Les-Bains en 1813, en compagnie de Jean-Antoine Duclaux. Enfin, lors d'un long séjour en Grande-Bretagne, de juin 1828 à avril 1829, il rencontre Thomas Lawrence dans son atelier londonien. Peints ou dessinés, les portraits de Massot sont rarement signés. Ils sont aujourd'hui principalement conservés dans des collections privées, en Suisse mais aussi en France, Grande-Bretagne, Pologne, Etats-Unis. Environ deux cent cinquante oeuvres sont aujourd'hui répertoriées.
     Outre les portraits, Massot s'essaye aussi à la peinture de genre. A ses débuts, il expose une oeuvre intitulée La Couseuse dite aussi La Brodeuse. La Liseuse est par la suite gravée par Nicolas Schenker. Puis, dans les années 1830, le peintre s'inspire des "fancy pictures" anglaises. La lecture de l'Almanach est exposée à Genève en 1832, à Lyon en 1833, à Londres en 1836. En 1844, il devient, à sa demande, "membre émérite" de la Société des Arts. Il meurt à Genève.
— The students of Massot included Amélie Munier-Romilly [1788-1875]

Madame de Staël à côté du buste de son père, Jacques Necker >>>
_ Anne-Louise-Germaine Necker, baronne de Staël-Holstein [22 April 1766 – 14 July 1817] was born in Paris of Swiss parents. Her father was Jacques Necker [30 Sep 1732 – 09 Apr 1804], a Genevan banker who became who became director general of finance (29 Jun 1777 – 19 May 1781, 26 Aug 1788 – 11 Jul 1789, 20 Jul 1789 – 18 Sep 1790) under Louis XVI. Her mother, Suzanne Curchod [May 1739 – 06 May 1794], assisted her husband's career through her literary and political salon in Paris, in which Anne participated since childhood. In 1786 she married baron Erik de Staël-Holstein, Swedish ambassador to Paris. They separated in 1797, before and after which she notoriously proved herself, with a series of other men, to be much more than just a necker. Madame de Staël established her own salon, first in Paris, and then, when banished by Napoléon in 1803, at the family property at Coppet, Switzerland. Her writings include novels, plays, moral and political essays, literary criticism, history, autobiographical memoirs, and some poems. She bridged the history of ideas from Neoclassicism to Romanticism, of which she became an important theorist. — MADAME DE STAEL ONLINE: Corinne, ou l'Italie (PDF) — Considérations sur les principaux événements de la Révolution française / le duc de Broglie et le Baron de Staël Delphine Tome 1 _ Tome 2 _ Tome 3 (page images) — Lettres sur les ouvrages et le caractère de J.-J. Rousseau (page images)
Jean-Gabriel Eynard (409x342pix, 42kb) _ Eynard [28 Dec 1775 – 05 Feb 1863], dont la famille était établie à Genève depuis le XVIIe siècle, est né à Lyon. En 1795 il s’installe à Gênes comme négociant et financier et devient conseiller de la reine d’Etrurie et du grand-duc de Toscane. Ayant réuni une belle fortune, il revient à Genève en 1810 et épouse Anna Lullin de Châteauvieux. En 1815 il accompagne au Congrès de Vienne, en tant que secrétaire, Pictet de Rochemont (oncle de sa femme) et la délégation genevoise. Dès 1825 il voue ses forces et une grande partie de sa fortune à l’indépendance de la Grèce. — Fils de Gabriel-Antoine Eynard, négociant, et de Marie-Madeleine Meuricoffre. Apprentissage de commerce à Gênes. Il fit fortune en Toscane, devint le conseiller financier de Marie-Louise de Bourbon, reine d'Etrurie, puis d'Elisa Bacciochi, soeur de Napoléon, grande-duchesse de Toscane. Fixé à Genève et Rolle dès 1810, il épousa, en Aug 1810, Anna Lullin de Châteauvieux [26 May 1793 – 30 Oct 1868]. Il accompagna en qualité de secrétaire Charles Pictet-de Rochemont [21 Sep 1755 – 28 Dec 1824] aux congrès de Paris et de Vienne (1814). Ami de Giovanni Antonio Capo d'Istria (Ioánnis Antónios Kapodístrias) [11 Feb 1776 – 09 Oct 1831], il s'enthousiasma pour la cause de l'indépendance grecque (1821-1829), fut le coordinateur des comités philhelléniques en Europe et prodigua ses conseils financiers au nouvel état; il fut cofondateur de la Banque Nationale de Grèce en 1842. A Genève, il se fit bâtir une belle demeure de style florentin (1817-1821) et le palais de l'Athénée (1863), qu'il offrit à la Société des Arts. Il fut en Suisse l'un des pionniers de la daguerréotypie et de la daguerréotypie-stéréoscopique.
Mme. Jérôme Bonaparte, Elizabeth Patterson [1785-1879] (1823, 29x24cm; 350x291pix, 23kb) _ Elizabeth “Betsy” Patterson [06 Feb 1785 – 04 April 1879] was the daughter of wealthy Baltimore merchant William Patterson. She met Jérôme Bonaparte [15 Nov 1784 – 24 Jun 1860] when he visited the United States in 1803, and they married on 24 December 1803. The marriage was opposed by William Patterson and by Jérôme's brother, Napoléon [15 Aug 1769 – 05 May 1821], who, when Jérôme brought Betsy to Europe in 1805, ordered her excluded from his empire. In 1806, an imperial decree annulled the Patterson marriage. The Emperor then got Jérôme married, on 22 August 1807, to Princess Catherine of Württemberg [21 Feb 1783 – 29 Nov 1835] (On 19 February 1853, Jérôme married Justine Pecori). Betsy returned to Baltimore, where she brought up her son Jérôme Napoléon Bonaparte [07 July 1805 – 17 Jun 1870] _ See an anonymous drawing portrait of Betsy.

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