Paul Delaroche (17 July 1797 – 4 November 1856) was a French painter who achieved his greater successes painting historical scenes. He became famous in Europe for his melodramatic depictions that often portrayed subjects from English and French history.
The emotions emphasised in Delaroche's paintings appeal to Romanticism while the detail of his work along with the deglorified portrayal of historic figures follow the trends of Academicism and Neoclassicism.
Delaroche aimed to depict his subjects and history with pragmatic realism.
He did not consider popular ideals and norms in his creations, but rather painted all his subjects in the same light whether they were historical figures like Marie-Antoinette, figures of Christianity, or people of his time like Napoleon Bonaparte.
Delaroche was a leading pupil of Antoine-Jean Gros and later mentored a number of notable artists such as Thomas Couture, Jean-Léon Gérôme and Jean-François Millet.
Paul Delaroche | Joan d'Arc being interrogated, 1824
Delaroche was born into a generation that saw the stylistic conflicts between Romanticism and Davidian Classicism. Davidian Classicism was widely accepted and enjoyed by society so as a developing artist at the time of the introduction of Romanticism in Paris, Delaroche found his place between the two movements.
Subjects from Delaroche's medieval and sixteenth and seventeenth-century history paintings appealed to Romantics while the accuracy of information along with the highly finished surfaces of his paintings appealed to Academics and Neoclassicism.
Delaroche's works completed in the early 1830s most reflected the position he took between the two movements and were admired by contemporary artists of the time—the Execution of Lady Jane Grey (1833; National Gallery, London) was the most acclaimed of Delaroche's paintings in its day. Later in the 1830s, Delaroche exhibited the first of his major religious works. His change of subject and “the painting’s austere manner” were ill-received by critics and after 1837, he stopped exhibiting his work altogether.
At the time of his death in 1856, he was painting a series of four scenes from the Life of the Virgin. Only one work from this series was completed: the Virgin Contemplating the Crown of Thorns.
Biography
Delaroche was born in Paris and stayed there for the majority of his life. Most of his works were completed in his studio on Rue Mazarin.
His subjects were painted with a firm, solid, smooth surface, which gave an appearance of the highest finish. This texture was the manner of the day and was also found in the works of Vernet, Ary Scheffer, Louis Léopold Robert and Jean Auguste Dominique Ingres.
Among his students were Gustave Boulanger, British landscape artist Henry Mark Anthony, British history painters Edward Armitage and Charles Lucy, and American painter/photographer Alfred Boisseau (1823–1901).
The first Delaroche picture exhibited was the large Jehosheba saving Joash (1822). This exhibition led to his acquaintance with Théodore Géricault and Eugène Delacroix, with whom he formed the core of a large group of Parisian historical painters.
He visited Italy in 1838 and 1843, when his father-in-law, Horace Vernet, was director of the French Academy in Rome.
In 1845, he was elected into the National Academy of Design, New York, as an Honorary Academician.
Artistic independenceA statue seen in the round
Delaroche's debuted at the Salon in 1822 where he exhibited Christ Descended from the Cross (1822: Paris, Pal. Royale, Chapelle) and Jehosheba Saving Joash (1822; Troyes, Mus. B.-A. and Archéol). The latter was a product of Gros's influence and was praised by Géricault who supported the beginning of Romanticism.
The schooling Delaroche received at L’Ecole des Beaux-Arts tied him to the ideas of Academicism and Neo-Classicism while his time spent in the studio of Gros aroused his interest of history and its representation through Romanticism. His painting, Joan of Arc in Prison (1824; Rouen, Mus. B.-A.), which was exhibited in the Salon of 1824, along with his following works reflect the middle ground he occupied. Delaroche studied the recent tradition of English history painting at the time, which he incorporated into his own productions.
In 1828 he exhibited the first of his English history paintings, Death of Queen Elizabeth.
Delaroche's focus on English history achieved him popularity in Britain in the 1830s and 1840s.
In the 1830s, Delaroche produced some of his most lauded works, including Cromwell Gazing at the Body of Charles I (1831. Mus. B.-A., Nîmes), The Princes in the Tower (1831, Louvre, Paris) and his most acclaimed piece, the Execution of Lady Jane Grey (1833, NG, London).
Recognizing his talent and popularity, the Académie des Beaux-Arts elected Delaroche a member of the society in 1832.
A year following, he became a professor at L’Ecole des Beaux-Arts. The same year, he was requested to paint a large mural at the central nave of L'Église de la Madeleine in Paris. Delaroche recognized his lack of experience in religious painting and so travelled for one year in Italy to educate himself on the religious works of the past.
Upon his return to France, he was told he was to work with Jules-Claude Ziegler, but abandoned the project altogether thinking that Ziegler would soil the image he already had in mind.
In 1837 he exhibited St. Cecilia (1836; London, VandA), which was the first of his significant religious paintings. Delaroche's change of subject was less impressive to French critics than his previous works.
Style and themes
Delaroche as a history painter aimed to present in his work a “philosophical analysis” of a historical event and link it to “the nineteenth-century understanding of historical truth and historical time”. Although there are some discrepancies between history and his history painted, Delaroche saw importance in being faithful to the presentation of facts.
German literary critic, Heinrich Heine, says "[Delaroche] has no great predilection for the past in itself, but for its representation, for the illustration of spirit, and for writing history in colours."
Delaroche painted all of his subjects in the same light whether they were great historical figures from the past, founders of Christianity, or important political figures of his time like Marie Antoinette or Napoleon Bonaparte. Delaroche carefully researched the costumes and accessories and settings he included in his paintings in order to accurately present his subject.
To accentuate historical accuracy, Delaroche painted with meticulous detail and finished his paintings with clear contours.
The varying movement of his brush strokes along with the colors and placement of his subjects give each of them a unique appearance and allows them to act in the spirit and tone of their character and the event.
The public eye is less observant of fine details and nuances in painting, but Delaroche appreciated the literary value of his paintings over their pictorial value. He balances the literary aspects with the theatricality, narrativity, and visuality of his historical paintings. | Source: © Wikipedia
Hippolyte Delaroche, noto anche come Paul Delaroche (Parigi, 1797-1856), è stato un pittore Francese.
Biografia
Proveniente da una famiglia benestante e figlio di un esperto d'arte che aveva fatto fortuna con la compravendita di quadri, Paul Delaroche (nato Hippolyte De La Roche), non appena manifestò i primi segni del suo talento, venne indirizzato alla pittura e mandato a studiare nell'atelier di Louis Étienne Watelet, per poi in seguito divenire allievo di Antoine-Jean Gros. La sua prima opera fu esposta al Salon nel 1822 e portava il titolo di Josabeth salva Joas. Essa mostra ancora l'influenza di Théodore Géricault e di Eugène Delacroix.
Cominciò ad essere notato solo due anni dopo, quando espose i quadri San Vincenzo de' Paoli prega per i trovatelli e Giovanna d'Arco in prigione. La sua fama crebbe, infatti, perché egli trattava per la prima volta temi che riguardavano fatti storici minori, o "aneddoti storici", a fianco dei grandi avvenimenti. Tale genere aveva anche una finalità documentaria ed esprimeva, comunque, una particolare sensibilità per la visione drammatica di ogni episodio. Ebbe pertanto un notevole successo e, se Delaroche fu uno degli artisti più celebri del suo tempo, ciò fu dovuto in gran parte al fatto che questo genere in cui egli si specializzò, aderiva perfettamente all'ideale del giusto punto di mezzo che ispirò la Monarchia di luglio.
Delaroche sposò una delle figlie di Horace Vernet, ma ella morì prematuramente e questo colmò di tristezza gli anni della sua maturità.
Dopo il 1822 Paul visitò l'Italia per due volte (nel 1838 e nel 1843), in visita al suocero Horace Vernet, allora direttore dell'Académie de France à Rome, e stabilì poi il proprio studio a Parigi, in rue Mazarine.
Tra i suoi soggetti preferiti, la storia, ancora nazionalista, ma di taglio già palesemente romantico.
Delaroche fu ammesso all'Istituto di Belle arti nel 1832.
Poco tempo dopo fu nominato professore presso l'École des beaux-arts di Parigi ed ebbe moltissimi allievi; insegnò sino al 1843, anno in cui un tragico episodio di "nonnismo", che causò la morte di un suo allievo, lo rattristò al punto da fargli chiudere lo studio.
Ma già nel 1837 aveva smesso di esporre, pur continuando a lavorare senza pausa. Impiegò infatti quattro anni a completare la decorazione dell'emiciclo della "Scuola nazionale superiore di Belle Arti" di Parigi, una vasta pittura panoramica che comprende 75 ritratti dei più grandi artisti di tutte le epoche.
Delaroche fu essenzialmente un pittore di soggetti storici e un eccellente ritrattista, che, dalla concezione classica, aprì la via a forme e ad atmosfere ormai già appartenenti alla pittura romantica.
Il suo stile, improntato all'esattezza dei dettagli, com'era di moda a quei tempi, richiama i contemporanei Horace Vernet, Ary Scheffer, Louis Léopold Robert e, nei ritratti, Jean-Auguste-Dominique Ingres.
Hippolyte Delaroche si spense infine a Parigi all'età di 59 anni. Oggi riposa nel Cimitero di Montmartre. | © Wikipedia
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