Anne-Francois-Louis Janmot

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Anne-Francois-Louis Janmot

35 artworks

French

Born circa 1814 - Died circa 1892

  • Artworks
  • Biography
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Le Poème de l'âme ­ Géneration divine

The Poem of the Soul - Divine Genesis

Oil on canvas

113 x 143 cms | 44 1/4 x 56 1/4 ins

Musee des Beaux-Arts, Lyon, France

Credit: Brian Shapiro

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Le Poème de l'âme ­ Le Passage des âmes

The Poem of the Soul - Passage of the Souls

1854

Oil on canvas

113 x 145 cms | 44 1/4 x 57 ins

Musee des Beaux-Arts, Lyon, France

Credit: Brian Shapiro

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Le Poème de l'âme ­ L'Ange et la mère

The Poem of the Soul - The Angel and the Mother

Oil on canvas

113 x 143 cms | 44 1/4 x 56 1/4 ins

Musee des Beaux-Arts, Lyon, France

Credit: Brian Shapiro

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Le Poème de l'âme ­ Le Printemps

The Poem of the Soul - Spring

1854

Oil on canvas

114 x 144 cms | 44 3/4 x 56 1/2 ins

Musee des Beaux-Arts, Lyon, France

Credit: Brian Shapiro

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Le Poème de l'âme ­ Souvenirs du ciel

The Poem of the Soul - Memory of Heaven

1854

Oil on canvas

113 x 143 cms | 44 1/4 x 56 1/4 ins

Musee des Beaux-Arts, Lyon, France

Credit: Brian Shapiro

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Le Poème de l'âme ­ Le Toit paternal

The Poem of the Soul - Under the Paternal Roof

1854

Oil on canvas

113 x 143 cms | 44 1/4 x 56 1/4 ins

Musee des Beaux-Arts, Lyon, France

Credit: Brian Shapiro

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Le Poème de l'âme ­ Le Mauvais sentier

The Poem of the Soul - The Wrong Path

Oil on canvas

113 x 143 cms | 44 1/4 x 56 1/4 ins

Musee des Beaux-Arts, Lyon, France

Credit: Brian Shapiro

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Le Poème de l'âme ­ Cauchemar

The Poem of the Soul - Nightmare

Oil on canvas

113 x 143 cms | 44 1/4 x 56 1/4 ins

Musee des Beaux-Arts, Lyon, France

Credit: Brian Shapiro

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Le Poème de l'âme ­ Le Grain de blé

The Poem of the Soul - The Grain of Wheat

circa 1854

Oil on canvas

112 x 143 cms | 44 x 56 1/4 ins

Musee des Beaux-Arts, Lyon, France

Credit: Brian Shapiro

HD

Le Poème de l'âme ­ Première communion

The Poem of the Soul - First Communion

circa 1851

Oil on canvas

113 x 145 cms | 44 1/4 x 57 ins

Musee des Beaux-Arts, Lyon, France

Credit: Brian Shapiro

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Mode

Anne-François-Louis Janmot (May 21, 1814 - June 1, 1892) was a French painter and poet.

Janmot was born in Lyon, France of Catholic parents who were deeply religious. He was extremely moved by the death of his brother in 1823 and his sisters in 1829. He became a student at the Royal College of Lyon where he met Frederic Ozanam and other followers of his philosophy professor, Abbe Noirot. In 1831 he was admitted to the École des Beaux-Arts de Lyon and a year later, he won the highest honor, the Golden Laurel.

In 1833, he came to Paris to take painting lessons from Victor Orsel and Jean-Auguste-Dominique Ingres**. With other Lyon painters, he entered the Society of St. Vincent de Paul. In 1835, he went to Rome with Claudius Lavergne, Jean-Baptiste Frenet and other students and met Hippolyte Flandrin.

After his return to Lyon in 1836, Janmot would attract the attention of critics of the Salon de Paris in conducting large-scale paintings with religious inspiration such as The Resurrection of the son of the widow of Nain (1839) or Christ in Gethsemane (1840).

After 1845, he attracted the interest of Charles Baudelaire with his painting Flower of the Fields that allowed him to access to the Salon of 1846. Theophile Gautier was impressed by his Portrait of Lacordaire (1846). But the failure of his Poem of the Soul at the Universal Exhibition of 1855 disappointed him. In December of that year he married Leonie Saint-Paulet, from a noble family in Carpentras.

In 1856, Janmot obtained a commission to paint a fresco (since destroyed) representing the Last Supper for the church of St. Polycarp.

Other orders followed, including the decoration of the dome of the Church of St. Francis de Sales and for the town hall that had been renovated by his friend the architect T. Desjardins. He was then appointed professor at the École des Beaux-Arts.

Surprisingly, Janmot moved to Paris in 1861 after having been promised a commission for the Church of St. Augustine, but this project was abandoned three years later. In experiencing significant family and financial problems, Janmot accepted a professorship at the Dominican School of Arcueil. At that time, in his home in Bagneux, he made many portraits of the members of his family (only photographs are currently available).

After the birth of her seventh child in August 1870, his wife died in Bagneux. While the Prussian troops approached and occupied his home, he fled to Algiers with his stepfather and made landscape paintings.

He returned in June of the following year in Paris and led a solitary life. His house in Bagneux had been looted. In 1878, he produced a fresco in the chapel of the Franciscans in the Holy Land, but this work was followed by any further order.

Faced with family and increasing financial problems, Janmot came to Toulon, and despite some orders (new Portrait of Lacordaire (1878, Museum of Versailles), Rosaire (Saint-Germain-en-Laye, 1880), Martyrdom of St. Christine (Solliès-Pont, 1882), he lived a retired life.

He finished the second part of the Poem of the Soul that the patron and former industrial Félix Thiollier was willing to publish.

In 1885, Janmot married a former student, Antoinette Currat, and returned to Lyon. He made charcoal drawings on the theme of the underworld, which can be regarded as a kind of continuation of the Poem of the Soul, including Purgatory (1885) and The End of Time (1888).

In 1887 was published in Lyon and Paris an over 500-page book entitled Opinion of an artist on art and includes articles previously written by Janmot. He died five years later at the age of 78.

Janmot has been seen as a transitional figure between Romanticism and Symbolism, prefiguring the French part of the Pre-Raphaelite Brotherhood; his work was admired by Puvis de Chavannes**, Odilon Redon** and Maurice Denis**.

Like Jean-Hippolyte Flandrin, another painter from Lyon and student of Ingres**, Janmot carried out many commissions for church decorations. In his paintings the immaculate finish of Ingres was combined with a mysticism that has parallels in the work of his contemporaries the Nazarenes and the Pre-Raphaelites.

The Lyon School is a term for a group of French artists** which gathered around Paul Chenavard**. It was founded by Pierre Revoil, one of the representatives of the Troubadour style. It included Victor Orsel, Louis Janmot and Hippolyte Flandrin, and was nicknamed "the prison of painting" by Charles Baudelaire.

It was principally inspired by philosophical-moral and religious themes, and as a current was closely related to the British Pre-Raphaelite painters and poets.

Recognized at the Salon of 1819, the school was consecrated 16 February 1851 by the creation of the gallery of painters from Lyon (galerie des Artistes lyonnais) at the Museum of Fine Arts of Lyon.

Between 1890 and 1909 a younger generation of artists of divers inspirations would become associated with L'École de Lyon (or École lyonnaise) exhibiting at the Le Salon in Lyon - Salon de la Société Lyonnaise des Beaux-Arts.

His predilection for heraldic compositions, based on symmetry and repetition, his use of profile and flattened form and his luminous colour were all influenced by a love of such early Italian painters as Giotto and Fra Angelico. Janmot's style has much in common with that of fellow Lyonnais and pupil of Ingres, Hippolyte Flandrin.