Émile Auguste Carolus-Duran

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John Singer Sargent : Portrait of Carolus Duran
Carolus Duran: Portrait de Philippe Burty (1874)
Carolus-Duran: La Dame au gant - The lady with the glove , also portrait of Mme *** , 1869

Charles Auguste Émile Durand (or Durant) called Carolus-Duran (born July 4, 1837 in Lille , † February 17, 1917 in Paris ) was a French painter . His work can be assigned to realism .

biography

Carolus-Duran attended the Ecole municipale in his hometown and during this time he noticed the local painter François Souchon . The latter invited him to work in his studio and, through his advocacy, obtained a generous grant from the city of Lille for Carolus-Duran. This enabled Carolus-Duran to finance his two-year stay in Paris , where he mostly worked at the Académie Suisse . In Paris, Duran also got his stage name Carolus-Duran , which he kept until the end of his life.

Following Souchon's example, Carolus-Duran began copying pictures in the Louvre , namely by Leonardo da Vinci , which laid the foundation for his painting style. He also created very independent works, of which Visite au convalescent was awarded at the Concours de Wicar in 1860 . This prize money enabled him to go on an extensive study trip to Italy at the end of 1861 .

At the beginning of 1861 Carolus Duran stayed in Rome and Subiaco , where he almost exclusively created scenes from everyday life in Rome . Best known are The Evening Prayer (Monastery of San Francesco in Subiaco, 1863) and The Murdered One (1865), a gloomy, naturalistic study. He spent most of the year 1863 in Venice and visited Pompeii for several weeks in 1864 . In 1866 he returned to Paris.

In the same year he achieved his artistic breakthrough with his work L'Assassiné , which he exhibited at the Paris Salon and which his hometown acquired. From this time on, Carolus-Duran worked almost exclusively as a portrait painter , whereby, in contrast to his colleagues such as Léon Bonnat or Jean Jacques Henner , he chose less the elegance of the sitter for his motifs, but emphasized the most natural characteristics possible. Unlike Gustave Courbet and Théodule Augustin Ribot , Carolus-Duran succeeded in depicting the extravagances of fashion in a caricature manner and with bright color combinations.

The income from the sale of L'Assassiné alone enabled Carolus-Duran to go on a longer study trip (1867/68) to Spain . On this trip he got to know the work of Diego Velázquez , from whom he was immediately fascinated. He copied many of Velázquez's works and began to paint his own works in this style.

On his return to Paris he married his colleague Pauline Marie Croizette (1839–1912) and had three children with her. In addition to his house, he set up a large studio. In addition to his own work, many of his students also worked there.

Through his portraits alone, Carolus-Duran became one of the busiest painters in Paris over the next few years. Outstanding examples of this portrait painting are above all the portrait of Mme *** , also known as The Lady with the Glove , from 1869 and The Lady with the Dog (1870, Museum in Lille). Portrait of Mme *** received a medal at the Paris Salon in 1869 and was acquired by the Musée du Luxembourg immediately after the exhibition ended . This recognition led to him becoming one of the most sought-after portraitists in France. During these years his friendship with Édouard Manet and Zacharie Astruc began .

From around 1875, Carolus-Duran devoted himself again increasingly to genre and history painting , taking Peter Paul Rubens and Paolo Veronese as models, but without deviating from his rough naturalism. The following emerged in quick succession: The Temptation of a Saint , The Prayer (1875), The Apotheosis of Maria de Medici (1878, ceiling painting for a hall in the Palais du Luxembourg ). In 1879 the Paris Salon honored Carolus-Duran's life's work with a medal of honor.

In 1890, Carolus-Duran founded the Société nationale des beaux-arts with his wife, Ernest Meissonier and other colleagues . For ten years he became a permanent member of the jury of the Paris artists' associations and his own academy elects him to be their honorary president. In 1904 he was appointed Grand Officer of the Legion of Honor and as such the director of the Académie de France à Rome the following year .

The painter Emile Auguste Carolus-Duran died in Paris on February 17, 1917 at the age of 79 and found his final resting place on the Cimetière Saint-Léonce of Fréjus .

Carolus Duran as a teacher

classes

Portrait of Mademoiselle Croizette on horseback

Carolus-Durant did not begin teaching until 1873. He had not at the time built a reputation for being a teacher, paving the student's path to a career in painting, and he also had a reputation for teaching a style of painting that was different from the methods used in the École des Beaux-Arts was taught. Accordingly, his students consisted mostly of foreigners who placed less value on access to the École des Beaux-Arts, but were attracted by Carolus-Durant's reputation as a portraitist.

Lessons only took place on the morning of every Tuesday and Friday. Each student paid him 20 French francs. The lessons were rather informal, so there are no documents showing which other students Carolus-Durant Sargent taught together with. Stanley Olson assumes that the aim of Sargent's teaching was admission to the École des Beaux-Arts, since an education at this prestigious art school gives every graduate status and thus the prospect of an income that can be achieved through painting.

From Carolus-Duran's point of view, drawings were irrelevant. He was convinced that a picture of nature consisted of adjacent, differently colored surfaces. His approach therefore consisted in first quickly marking the main areas of color on an unprepared canvas with charcoal. The basic drawing was done with broad brushstrokes, with which the general composition of the painting was recorded. Then the individual colored areas were primed with muted tones and, based on this, the next color tones were added one after the other, so that the painting gradually emerged, almost as if in a mosaic-like composition. Years later, John Singer Sargent , arguably Carolus-Duran's most important student, pointed out how much Carolus-Durant had taught him:

“First you had to classify the color values. If you start with the middle shade and work your way from there to the darkest - so that you only use the lightest and darkest shades at the very end - you avoid false accents. It was Carolas who taught me that .... "

Carolus-Duran was also a great admirer of Diego Velázquez . He regularly asked his students to deal intensively with the Spanish painter of the 17th century.

Student (selection)

Honors

  • 1872 Chevalier of the Legion of Honor
  • 1878 Officer of the Legion of Honor
  • 1889 Commander of the Legion of Honor
  • 1890 Grand Officier of the Legion of Honor

Works (selection)

Mademoiselle de Lancey, 1876.
  • Portrait of Mme *** . 1869.
  • l'Assassine.
  • Lady au gant.
  • The temptation of a saint. 1875.
  • The one praying. 1875.
  • The apotheosis of Mary of Medici . 1882.
  • The dawn and the vision. 1883.
  • The burial of Christ . 1882.
  • The evening prayer in the monastery of San Francesco in Subiaco. 1863.
  • The murdered one. 1865.
  • The lady with the dog. 1870.
  • The child in blue. 1870.
  • Madame Edgar Stern. 1890.
  • Caroline Schermerhorn Astor . 1890.

literature

  • Arsène Alexandre: Carolus-Duran . Librairie G. Baranger, Paris 1903.
  • Bruno Gaudichon and Dominique Lobstein (eds.): Des amitiés modern. De Rodin à Matisse; Carolus-Duran et la Société Nationale des Beaux-Arts . Somogy, Paris 2003, ISBN 2-85056-639-X (catalog of the exhibition of the same name, March 9 to June 9, 2003).
  • John House: Carolus-Duran . In: The Burlington Magazine , 145 (2003), 536-538, ISSN  0007-6287
  • Charles M. Mount: Carolus-Duran and the Development of Sargent . In: Art Quarterly , Vol. 26 (1963), pp. 385-418, ISSN  0004-3303
  • Annie Scottez de Wambrechies (Ed.): Carolus-Duran (1837-1917) . Réunion des Musées Nationaux, Paris 2003, ISBN 2-7118-4553-2 .

Individual evidence

  1. ↑ This competition was organized by the Société des sciences, de l'agriculture et des arts in Lille and was named after the painter Jean-Baptiste Wicar (1762–1834).
  2. ^ Stanley Olson: John Singer Sargent - His Portrait . MacMillan, London 1986, ISBN 0-333-29167-0 . P. 40.
  3. ^ Stanley Olson: John Singer Sargent - His Portrait . MacMillan, London 1986, ISBN 0-333-29167-0 . P. 31.
  4. ^ Stanley Olson: John Singer Sargent - His Portrait . MacMillan, London 1986, ISBN 0-333-29167-0 . P. 31 and p. 32.
  5. ^ Stanley Olson: John Singer Sargent - His Portrait . MacMillan, London 1986, ISBN 0-333-29167-0 . P. 38.
  6. ^ Stanley Olson: John Singer Sargent - His Portrait . MacMillan, London 1986, ISBN 0-333-29167-0 . P. 38.
  7. ↑ quoted from Stanley Olson: John Singer Sargent - His Portrait . MacMillan, London 1986, ISBN 0-333-29167-0 . P. 39. In the original the quote is: You must classify the values. If you begin with the middle-tone and work up from it towards the darks - so that you deal last wirth your highest lights and darkest darks - you avoid false accents. That's what Carolus taught me ...

Web links

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personal data
SURNAME Carolus-Duran, Émile Auguste
ALTERNATIVE NAMES Duran, Emile-Auguste Carolus
BRIEF DESCRIPTION French painter
DATE OF BIRTH 4th July 1837
PLACE OF BIRTH Lille
DATE OF DEATH February 17, 1917
Place of death Paris