Academic Study of a Male Nude. Pascal Walters Art Museum - Baltimore Pascal Dagnan-Bouveret () . Portrait of Jean Dagnan-Bouveret.
Table of contents
- Dagnan-Bouveret Paintings Reproduction and Biography
- Pascal Adolphe Jean Dagnan-Bouveret, - THE CONSERVATORY FOR CLASSICAL ART
- The Horses at the Watering Trough
- Dagnan's Early Interest in Photography
As a result, the supremacy of the arts in France began to falter. But by the end of the decade France began to see a return of the artistic spirit and young art ists from all around Europe and the United States came to Paris to study at the E cole. Th ese students believed that they could receive the best education from the traditional academies in Paris and that ac ademic training would position them for exposure through exhibitin g in the Salons.
Dagnan-Bouveret Paintings Reproduction and Biography
Dagnan-Bouveret enjoyed succes s as a young artist in Paris, w inning numerous prizes at the Salon. He began to see the need to shift to the more modern and contempora ry painting styles becoming fas hionable during the late n ine teenth cent ury and he was capable of transforming his classical academic training into new methods so that his work was available to the pu blic.
In fact, Dagnan-Bou ver et, li ke many other artists be gan to explore the use of ph otography and was interested in how the new medium could aid e the artist in an academic naturalistic ap proach.
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He began to make th is painting in the summer of while in Orm oy, France. He'd taken a photograph of a chur ch in the distance and pictured in the fore ground of the photo is a male figure with a handkerch ief on his head - the same location where one of the Breton women sits in the final painting.
Pascal Adolphe Jean Dagnan-Bouveret, - THE CONSERVATORY FOR CLASSICAL ART
Da g nan-Bou veret worked in a n out door tent where he compiled numerous preliminary dra wings on tracing paper, pastel drawings and oil sketches. His Wedding at the photographers top from hints at his working from photos even at such an early date photography was barely 30 years old at the time. It is this latter work we find most interesting in that one of the photos he used in painting the horse on the left, still survives above, right.
The photo from which the majority of the painting is rendered is below. Though the standing male figures at left are cropped in the photo and there have been some adjustments in the grouping of the nuns, Dagnan-Bouveret's reliance on photography in achieving his realism goes well beyond that of Academic painting into the realm of the natural Realism of Courbet some twenty years earlier. Could it be that Courbet had a greater influence on this establishment Academician than his instructors?
The Horses at the Watering Trough
His Last Supper above solves the persistent problem of so many figures sitting at a single table by utilizing a "U" shape arrangement. Even in painting such a well-worn subject, the artist brings a fresh informality to the scene while establishing Christ's spiritual as well as His physical presence. This piece is interesting when contrasted to the much more intimate Christ and the Disciples at Emmaus below , from , which seems to have a much more ethereal quality.
Seldom do we find a single artist having painted both scenes. So, was Dagnan-Bouveret an Academicia or a Realist?
His fondness for religious and mythological subjects would place him firmly in the Academic tradition. His Lament of Opheus below left from early in his career is as Academic as they come.
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Dagnan's Early Interest in Photography
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