Fine Art / Painting Gallery Painters / Retro

Fine Art / Painting Gallery Painters / Retro

William-Adolphe Bouguereau Biography
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William-Adolphe Bouguereau was born in La Rochelle, France on November 30, 1825, into a family of wine and olive oil merchants. He seemed destined to join the family business but for the intervention of his uncle Eugene, a curate, who taught him classical and biblical subjects, and arranged for Bouguereau to go to high school. Bouguereau showed artistic talent early on and his father was convinced by a client to send him to the Ecole des Beaux-Arts in Bordeaux, where he won first prize in figure painting for a depiction of Saint Roch. To earn extra money, he designed labels for jams and preserves.

Through his uncle, Bouguereau was given a commission to paint portraits of parishioners, and when his aunt matched the sum he earned, Bouguereau went to Paris and became a student at the Ecole des Beaux-Arts. To supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of Franccois-Edouard Picot, where he studied painting in the academic style. Academic painting placed the highest status on historical and mythological subjects and Bouguereau won the coveted Prix de Rome in 1850, with his Zenobia Found by Shepherds on the Banks of the Araxes. His reward was a stay at the Villa Medici in Rome, Italy, where in addition to formal lessons he was able to study first-hand the Renaissance artists and their masterpieces.

Bouguereau, completely in tune with the traditional Academic style, exhibited at the annual exhibitions of the Paris Salon for his entire working life.

An early reviewer stated, “M. Bouguereau has a natural instinct and knowledge of contour. The eurythmie of the human body preoccupies him, and in recalling the happy results which, in this genre, the ancients and the artists of the sixteenth century arrived at, one can only congratulate M. Bouguereau in attempting to follow in their footsteps Raphael was inspired by the ancients and no one accused him of not being original.”

Raphael was a favorite of Bouguereau and he took this review as a high compliment. He had fulfilled one of the requirements of the Prix de Rome by completing a old-master copy of Raphael’s The Triumph of Galatea. In many of his works, he followed the same classical approach to composition, form, and subject matter.
The Dance 1856 – William-Adolphe Bouguereau
The Dance 1856

In 1856, he married Marie-Nelly Monchablon and subsequently had five children. By the late 1850′s, he made strong connections with art dealers, particularly Paul Durand-Ruel (later the champion of the Impressionists), who helped clients buy paintings from artists who exhibited at the Salons. The Salons annually drew over 300,000 people, thereby providing valuable exposure to exhibited artists. Bouguereau’s fame extended to England by the 1860′s and then he bought a large house and studio in Montparnasse with his growing income.

Bouguereau was a staunch traditionalist whose realistic genre paintings and mythological themes were modern interpretations of Classical subjects-both pagan and Christian-with a heavy concentration on the female human body. Although he created an idealized world, his almost photo-realistic style brought to life his goddesses, nymphs, bathers, shepherdesses, and madonnas in a way which was very appealing to rich art patrons of his time. Some critics, however, preferred the honesty of Jean-Francois Millet’s truer-to-life depiction of hard-working farmers and laborers.

Bouguereau employed traditional methods of working up a painting, including detailed pencil studies and oil sketches, and his careful method resulted in a pleasing and accurate rendering of the human form. His painting of skin, hands, and feet was particularly admired. He also used some of the religious and erotic symbolism of the Old Masters, such as the “broken pitcher” which connoted lost innocence.
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(From wikipedia)

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