{"Id":112,"Name":"Jules Dupre","Biography":"Jules Dupr\u0026iuml;\u0026iquest;\u0026frac12; was born in Nantes on April 5, 1811. His father was a porcelain manufacturer in Parmain \u0026iuml;\u0026iquest;\u0026frac12; a small village on the shores of the Oise -- and by 1822 Jules was working in the factory decorating plates. In his spare time he painted simple landscape studies from nature and finally traveled to Paris to study with Jean-Michel Diebolt \u0026iuml;\u0026iquest;\u0026frac12; the landscape and animal painter. In the late 1820\u0026iuml;\u0026iquest;\u0026frac12;s his father was appointed director of the Coussac porcelain factory near Limoges and Jules took this opportunity to sketch and paint landscapes in this region.\u003Cbr\u003E\u003Cbr\u003EIn 1831, at the age of 20, he made his debut at the Salon \u0026iuml;\u0026iquest;\u0026frac12; showing a number of landscapes and continued to exhibit there sporadically. That same year he was invited to London where he spent time studying the works of the English landscape artists and painting in the English countryside. It is believed that Dupr\u0026iuml;\u0026iquest;\u0026frac12; was responsible for bringing the English landscape style to France and blending it with the style and images of the Barbizon school.\u003Cbr\u003E\u003Cbr\u003EIn 1833 he exhibited a number of works at the Paris Salon and received a second-class medal. However, it was the works he exhibited at the Salon of 1835 that solidified his reputation in the hearts and minds of many of the artists of the Romantic school. In an article written for \u003Cu\u003EThe Magazine of Art\u003C/u\u003E in 1890, Ernest Chesneau noted that:\u003Cbr\u003E\u003Cbr\u003E\u003Cdiv class=\u0022newsletter_quote\u0022\u003EHis \u0026iuml;\u0026iquest;\u0026frac12;View of the Fields near Southampton,\u0026iuml;\u0026iquest;\u0026frac12; in 1835, had won him congratulations from all the golden youth of the Romantic school, and the friendship of \u003Ca href=\u0022/asp/database/ art.asp?aid=2249\u0022 target=\u0022_self\u0022 class=\u0022link\u0022\u003EDecamps\u003C/a\u003E, Jardin, Eugene Dev\u0026iuml;\u0026iquest;\u0026frac12;ria, and \u003Ca href=\u0022/asp/database/art.asp?aid=48\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EEugene Delacroix\u003C/a\u003E, who indeed, was never tired of seeing and studying this picture.\u003C/div\u003E\u003Cbr\u003ERen\u0026iuml;\u0026iquest;\u0026frac12; M\u0026iuml;\u0026iquest;\u0026frac12;nard wrote in the March 1873 issue of \u003Cu\u003EGazette des Beaux-Arts\u003C/u\u003E that: \u003Cbr\u003E\u003Cbr\u003E\u003Cdiv class=\u0022newsletter_quote\u0022\u003EJules Dupr\u0026iuml;\u0026iquest;\u0026frac12; became, almost from his d\u0026iuml;\u0026iquest;\u0026frac12;but, one of the favorites in public opinion; his farms, his cottages, his old oaks on the boarders of pools with cows ruminating about, his plentiful pastures where horses run with flowing manes, his mills which profile their silhouettes on a stormy sky, have a simple and truthful side which captivates all the world. The precocity of his success only developed his activity; he is always at work, and gives himself up to incessant production, although he appears but rarely at our expositions \u0026iuml;\u0026iquest;\u0026frac12; One may have more or less sympathy with the works of Rousseau or with those of Dupr\u0026iuml;\u0026iquest;\u0026frac12;, but these two masters will remain incontestably as the two grandest colorists in landscape which the contemporaneous school has produced.\u003C/div\u003E\u003Cbr\u003EIt was also during this time that he met, and became friends with, Theodore Rousseau. Their friendship would last through the 1840\u0026iuml;\u0026iquest;\u0026frac12;s and the two not only traveled together throughout the French countryside in search of new subject matter, but also shared a studio where they worked, side by side.\u003Cbr\u003E\u003Cbr\u003EJules Claretie, a relative of Dupr\u0026iuml;\u0026iquest;\u0026frac12;, made the following comments about the artist and his relationship with Rousseau in \u003Cu\u003EThe Magazine of Art\u003C/u\u003E: \u0022[even at the height of his career, he would carry] his young friend\u0026iuml;\u0026iquest;\u0026frac12;s pictures from one to another, showing them off, praising them and making three several efforts to have one of Rousseau\u0026iuml;\u0026iquest;\u0026frac12;s landscapes exhibited at the Salon. He even induced him to leave his attic room in the Rue Taitbout, and took a studio for him, where the two painters, working side by side, produced not a few pictures which will count to the credit of the modern French school.\u0022\u003Cbr\u003E\u003Cbr\u003EIn 1849 Dupr\u0026iuml;\u0026iquest;\u0026frac12; was awarded the Legion of Honor and by 1852 he stopped exhibiting at the Salon. At a special exhibition that took place in Paris in 1860, Dupr\u0026iuml;\u0026iquest;\u0026frac12; sent a number of works to be displayed. Th\u0026iuml;\u0026iquest;\u0026frac12;ophile Gautier reviewed the exhibit and made these comments:\u003Cbr\u003E\u003Cbr\u003E\u003Cdiv class=\u0022newsletter_quote\u0022\u003EThis exposition is to Jules Dupr\u0026iuml;\u0026iquest;\u0026frac12; a sort of dazzling d\u0026iuml;\u0026iquest;\u0026frac12;but, although his fame is already old. For a long time, we know not why, this great artist has sent nothing to the Salon; and if he works, it is in the solitude and silence of the studio. The young generation, who did not see the splendid putting forth of art which followed the revolution of July, is astonished before the pictures of Jules Dupr\u0026iuml;\u0026iquest;\u0026frac12;, by this boldness, this zeal, and this brilliancy. We are no more accustomed to these superb extremes, to this excess of strength, to this overflowing power, to these full-faced struggles with nature. This excessive scale dazzles the eyes habituated to the sober regime of gray.\u003C/div\u003E\u003Cbr\u003EBy the mid 1860\u0026iuml;\u0026iquest;\u0026frac12;s he began to spend most of the summer months in the coastal town of Cayeux-sur-Mer \u0026iuml;\u0026iquest;\u0026frac12; painting marine and shore line landscapes. In the late 1860\u0026iuml;\u0026iquest;\u0026frac12;s \u003Ca href=\u0022/asp/database/art.asp?aid=745\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003EMillet\u003C/a\u003E joined him during his summer sojourns and in the early 1870\u0026iuml;\u0026iquest;\u0026frac12;s \u003Ca href=\u0022/asp/database/art.asp?aid=746\u0022 target=\u0022_blank\u0022 class=\u0022link\u0022\u003ECourbet\u003C/a\u003E could also be found painting in this area.\u003Cbr\u003E\u003Cbr\u003EIt was not until 1867 when Dupr\u0026iuml;\u0026iquest;\u0026frac12; began to, once again, submit works to the Salon and it was at this exhibit where the artist was awarded a second-class medal.\u003Cbr\u003E\u003Cbr\u003EClarence Cook made the following remarks about the artist in his book \u003Cu\u003EArt and Artists of Our Time\u003C/u\u003E:\u003Cbr\u003E\u003Cbr\u003E\u003Cdiv class=\u0022newsletter_quote\u0022\u003EDupr\u0026iuml;\u0026iquest;\u0026frac12; \u0026iuml;\u0026iquest;\u0026frac12; appeared as an innovator leading the public away from the epic grandeurs of nature to the quiet pastures, to the rich domain of farms and cattle-breeding meadows, to the calm depths of the forest, or the interiors of the farmer\u0026iuml;\u0026iquest;\u0026frac12;s cottage. His pictures were rural poems, instilling quiet, happy thoughts, and from the first they won for him a warm place in the public heart. But he seemed quickly sated with applause, and since that time has exhibited little. \u0026iuml;\u0026iquest;\u0026frac12;The truth is.\u0026iuml;\u0026iquest;\u0026frac12; As one of his biographers says, \u0026iuml;\u0026iquest;\u0026frac12;he is an artist who cares nothing for money or fame, and everything for art: he is able to follow his bent, and to do as he pleases, and he has his reward.\u0026iuml;\u0026iquest;\u0026frac12; He has painted all aspects of nature and all the he has produced with a poetry that is the outcome of his own communing with nature, not borrowed from books nor inspired be the work of other men.\u003C/div\u003E\u003Cbr\u003EDupr\u0026iuml;\u0026iquest;\u0026frac12; continued to spend much of his life in isolation and would exhibit at the Salon through 1883. He died on October 6, 1889.\u003Cbr\u003E\u003Cbr\u003E\u003Cstrong\u003E\u003Cu\u003ESource:\u003C/u\u003E\u003C/strong\u003E\u003Cbr\u003EThis essay is copyrighted by \u003Ca href=\u0022http://www.rehsgalleries.com\u0022 target=\u0022_blank\u0022\u003ERehs Galleries, Inc.\u003C/a\u003E and may not be reproduced or transmitted without written permission from \u003Ca href=\u0022http://www.rehsgalleries.com\u0022 target=\u0022_blank\u0022\u003ERehs Galleries, Inc.\u003C/a\u003E\u003Cp\u003E","BiographicalImageUrl":null,"Awards":null,"HasAlbums":false,"HasPortraits":true,"HasRelationships":true,"HasArticles":false,"HasDepictedPlaces":false,"HasLetters":false,"HasLibraryItems":true,"HasProducts":false,"HasSignatures":false,"HasVideos":false,"HasMapLocations":false,"TotalArtworks":6}