Alexandre Cabanel – my daily art display

Alexandre Cabanel Part 4 – Portraiture

In my last look at the life and works of Alexandre Cabanel I want to concentrate on his genius as a portraitist. In my last blog I had reached 1863, the year in which his most famous work, Naissance de Venus (Birth of Venus), was exhibited at that year’s Salon, which was subsequently purchased by Napoleon III and is now on display at the Musée d’Orsay. The work received great revues despite the subject’s nudity which caused some adverse comments. Cabanel, at the age of forty, was honoured that year, when he was bestowed with the status of Officer of the Legion of Honour and was elected a member of the Institut Impérial de France. On January 1^st 1864 he opened his own studio at the École des Beaux-Arts. He was reputed to have been an excellent teacher, who was well loved by his students, many of whom went on to win the Prix de Rome. Many of his students went on to regularly exhibit at the Salon.

Cabanel’s reputation as a leading artist of the time was well established by 1860 and his mastery of portraiture was well known throughout Europe and he had become the favoured portraitist of the European aristocracy. In the 1863 Salon besides his Birth of Venus painting he exhibited a portrait of Countess de Clermont Tonnerre who had married into one of the most famous old families in France.

Emperor Napoleon III by Alexandre Cabanel (c.1865)

Napoleon III and his wife, the Empress Eugénie, had, up to this time, commissioned several royal portraits from Franz Xavier Winterhalter, Edouard Dubuffe and Hippolyte Flandrin. Their portraits of Napoleon III were acclaimed by critics and yet the royal couple were not completely satisfied and so, in 1864, decided to commission Cabanel to paint a new portrait of Napoleon. For Cabanel, this was the ultimate commission. The portrait was completed and exhibited in the 1865 Salon and won Cabanel a Medal of Honour. What the critics liked so much about the work was its simplicity and sophistication. This was not a normal portrait of a ruler in military uniform. In this work, the Emperor is depicted wearing a simple black evening suit, under which we see his military sash. The ceremonial robes can be seen draped on a chair at his side. There was a sense of modesty about the Emperor although his depiction maintained an aristocratic tone. It was if he was truly “one of the people” which may well have been part of what the ruler wanted his portrait to depict of him. The 1886 edition of the Magazine of Art, which was an illustrated monthly British journal devoted to the visual arts, and which was published from May 1878 to July 1904 in London and New York included an article by Alice Meynell, who wrote that Cabanel’s royal portrait remit was to produce:

“…a portrait which should be more expressive of the stability, suavity, and prosperity of the Empire, and he not only succeeded in this, but produced a work which was in many solid qualities the finest example of his talent…”

The painting is now housed at the Musée du Château de Compiègne.

The work was acclaimed a masterpiece, not only in Europe, but also in America and, along with Cabanel’s portraits of high-society European women, it was this work by him which almost certainly inspired wealthy Americans to choose Cabanel to paint their portraits and portraits of their family members. Portraiture had always been a lucrative genre but the fact that Cabanel was a man of means indicates that, for him, portraiture was not just a means of earning money but was an art genre he loved and many of his portraits were exhibited at the various Salons

Catharine Lorillard Wolfe by Alexandre Cabanel (1876)

Catharine Lorillard Wolfe was an American philanthropist and art collector. She gave large amounts of money to institutions of which her most significant gifts were two bequests to the Metropolitan Museum of Art in New York . She also left her large collection of popular contemporary paintings to the museum, together with $200,000.

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To have one’s portrait or a portrait of one’s partner painted by a well-known artist was a means of letting the world know that you had “arrived”. You had made good and the “right” artist could depict you as a man or woman of class and wealth. Around the 1880’s following the end of the American Civil War many people had amassed fortunes, much of which was spent on art – not just any art but the contemporary art of the European painters, especially works by the French artists. In America, the period which spanned the final three decades of the nineteenth century was known as the Gilded Age. The phrase Gilded Age derives from the many great fortunes created during this period and the way of life this wealth supported and the phrase was coined by Mark Twain’s 1873 novel, A Gilded Age, A tale of Today.

Mary Frick Garrett, by Alexandre Cabanel (1883)

Mary Sloan Frick married Robert Garrett, the oldest son of John W Garrett, who was president of the Baltimore and Ohio Railroad and Robert Garrett & Sons Bank. Cabanel painted this portrait whilst his sitter was on holiday in Paris in 1883.

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America’s industrial economy boomed. It was a time of great wealth for the industrialists such as John D Rockefeller, with his oil, Andrew Carnegie, with his steel and Cornelius Vanderbilt, the railroad and steamboat tycoon. For wealthy Americans like them, having a painting by a French artist hanging in one of the rooms of their large mansions signalled not just your wealth but alluded to your knowledge of European art and thus enhanced your air of intellectual prowess. For these rich Americans what would be even better than just owning a painting by a well-known French artist, would be to have that artist paint your portrait or your wife’s portrait. That would really impress your friends!

Olivia Peyton Murray Cutting by Alexandre Cabanel (1887)

In 1877, Olivia Peyton Murray married William Bayard Cutting, a member of New York’s merchant aristocracy, an attorney, financier, real estate developer, sugar beet refiner and philanthropist. Ten years later he commissioned Cabanel to paint a portrait of his wife which can now be found at the Museum of the City, New York.

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Alexandre Cabanel’s reputation as an outstanding academic painter and portraitist was acknowledged on both sides of the Atlantic and his work was in great demand.

Mrs. Collis Potter Huntington by Alexandre Cabanel (1882)

Mrs Collis Huntington married Collis Potter Huntington, who was one of the Big Four of western railroading and who built the Central Pacific Railroad, which formed part of the first American transcontinental railroad.

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A man of wealth would like to be portrayed by an artist in quite a sombre mood depicting his serious business-like nature whereas they would like their wives and daughters to be portrayed in the finest clothes, with the most expensive of jewellery but the women were not to be portrayed as being frivolous instead they must be seen as intelligent figures who played, like their husbands or fathers, a key role in society.

In a book which was published to coincide with Alexandre Cabanel’s retrospective 2010 exhibition at the Wallraf-Richartz Museum in Cologne, Michel Hilaire, the director of the Musée Fabre of Montpellier, where many of Cabanel’s work are housed, wrote of Cabanel’s life:

“…It was the end of a fulfilled life and artistic career characterised by hard work, but also full of success and esteem…”

Alexandre Cabanel died at his Paris home on the rue Alfred de Vigny close to the Parc Monceau Paris on January 23^rd 1889, aged 65.

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For an excellent article on Alexandre Cabanel and his American portraits you should go and read an excellent article by Leanne Zalewski :

http://www.19thc-artworldwide.org/spring05/64-spring05/spring05article/300–alexandre-cabanels-portraits-of-the-american-aristocracy-of-the-early-gilded-age

Alexandre Cabanel. Part 3 – The Birth of Venus

Alexandre Cabanel by Achille Jacquet (c.1883)

This is the third and penultimate instalment of my look at the life and works of Alexandre Cabanel. Over the years I have looked at the life of many artists and so often I find that they were rebellious as far as their art and their art training was concerned. They rebelled at the authoritarian way the Academies taught art and believed that their way was the true way. However my current artist, Cabanel, was a true believer of the State-run Academies and Academic training. He was a true Academician. In the first two blogs about Cabanel, I featured his academic-style history paintings depicting people from mythology and the Bible. In this blog I want to carry on looking at his life and concentrate on one of his most famous works of art, which is considered to be his greatest masterpiece. I ended the last blog about Cabanel around the time of the World Exposition in Paris in 1855. He exhibited a number of works at this event and was awarded the first-class medal and in November that year he was made Knight of the Legion of Honour.

Allegory of the Five Seasons by Alexandre Cabanel (1858)

Cabanel spent much of the next ten years carrying out decorative commissions. One such commission was to decorate the elaborately carved ceiling of the grand salon of Hotel Chevalier de Montigny which had been purchased by the brothers Isaac and Emile Péreire, who had made their fortune in finance and industry. This building in Paris is now home to the British Embassy. During 1857 and 1858 Cabanel painted an Allegory of the Five Senses on the ceiling which was framed by four oval medallions signifying the arts of dance, poetry, fancy poetry and eloquence. The Péreire brothers were so pleased with Cabanel’s work that six years later they commissioned him to add six vertical wall panels to the walls of the salon. The panels featuring six female figures represented the hours of the day.

Birth of Venus by Alexandre Cabanel (1863)

In 1863 Cabanel produced one of his most celebrated works of art entitled Naissance de Venus (Birth of Venus). It was exhibited at that year’s Salon and, in the year of Cabanel’s fortieth birthday, it marked the high point of his career. The subject of this work of art was based on a story from classical mythology which told of the birth of Venus. Although the paintings depicting this occurrence focus on the beauty of the event the mythology behind the tale is a little gorier as it tells how she arose from the foam of the sea shore. This miraculous creation came to being after Saturn castrated his tyrant father, the supreme sky god Uranus. Saturn had sliced off Uranus’ genitals, and threw them into the sea. As the genitals drifted over the water, the blood and semen that issued forth from the severed flesh mixed with the sea water to foment the growth of the child who would become Venus. The Greek poet Hesiod gives us a less graphic version of the birth of Venus writing that Venus (Aphrodite) sprang from the foam of the sea as a fully developed woman. Zephyrus, the God of the west wind, then carried her across the sea on a clam shell, to Cythera and then to Cyprus. There, Aphrodite was welcomed by Horae, daughter of Themis, who dressed her up and adorned her with precious jewels before taking her to the Immortals at Olympus.

Bacanal de los andrios by Titian (c.1526)

In Cabanel’s painting, we see Venus resting on the crest of a wave, her long hair cascading around her body, surrounded by five putti. Many art historians believe that the way Cabanel depicted the posture of his Venus could have been influenced by a painting by Titian and the way he depicted the naked lady in his 1526 work entitled The Bacchanal of the Andrians.

If we look at the posture of Cabanel’s Venus we can also draw a comparison with the way Ingres depicted the woman in his 1842 work entitled Odalisque and Slave.

Nudity in works of art at the time of Cabanel were deemed acceptable only if they could be tied in to a mythological theme and by so doing, any hints of eroticism in the depiction were justified and any hint of a public outcry over a lascivious depiction was countered by talk of classicism. Not all were “taken in” by such a justification as the popular French writer of the time, Emile Zola, decried Cabanel’s depiction of Venus saying:

“…The goddess, drowned in a sea of milk, resembles a delicious courtesan, but not of flesh and blood – that would be indecent – but made of a sort of pink and white marzipan…”

Another person that was not swayed by the classical argument for depicting nudity was the eminent French art critic Théophile Gautier who, in June 1863, wrote, an account of that year’s Salon, in the journal Le Moniteur universal and commented about Cabanel’s The Birth of Venus:

“… One might say, one has drawn aside curtains to reveal a young woman asleep; she reclines on her bed, the crest of a wave, stretches out her arms, pulls up a leg, abandons herself to the waves that rock her, and surrenders her skeins of long hair like seaweed to the rhythm of the blue water. The swell makes her body arch and accentuates her youthful charms all the more strongly…”

Criticism of the work on moral grounds were voiced and it would appear that one such critic was close to Cabanel as in a letter he wrote to his niece on May 30^th 1863, he tried to justify the depiction of the nude in his painting. He wrote:

“…I do not complain at the little sympathy that my theme provokes in you, yet occasionally it is a mistake to view a painting only in moral terms……usually the subject is merely a pretext to hint at or to express an underlying ideal, an ideal for which the public is more receptive on account of its familiarity with the subject…… I would be glad to eliminate such misgivings among the family in Montpellier…”

The strange thing about the Salon of 1863 was that there was not just one Birth of Venus but three albeit one did not have that exact title. The Birth of Venus had been depicted on a number of occasions in the past, the best known of these being Botticelli’s 1486 version.

However, besides Cabanel’s version, two other artists decided to feature the Birth of Venus in the work which they submitted to the 1863 Salon. The first was a painting by Amaury Duval.

Duval had been a student of Ingres and his offering may have been influenced by his master’s work La Source which Ingres started whilst in Florence around 1820 but did not complete until 1856 when he was living in Paris.

Another painting which could have influenced Amaury Duval when it came to the way he depicted the stance of Venus could have been another work by Ingres completed around 1848 entitled Venus Anadyomène.

The Pearl and the Wave by Paul Baudry (1862)

The other Birth of Venus painting to rival Cabanel’s painting at the 1863 Salon came from Paul Baudry. His work did not have the title “Birth of Venus” but instead because of the inclusion in the work of a depiction of an oyster shell, it was entitled La Perle et la Vague (The Pearl and the Wave) which he completed in 1862 and which now hangs in the Prado in Madrid. In this work we see Venus not being supported by a wave but lying on a rocky ledge with the foaming sea as a background. She turns her head towards us as she gazes backwards over her shoulder. In a series of essays, Old Masters and New Essays in Art Criticism, the influential nineteenth American painter, writer and teacher of art at the Art Students League in New York, Kenyon Cox, praised the painting writing that it was:

“…the most perfect painting of the nude” in the 19th century…”

He went on in his essay to highlight the “grace of attitude”, of the well-rounded but slim body of the young woman, with her visible dimple in the shoulder. He could not praise Baudry’s work enough calling it “a pure masterpiece”

Although the Salon had three Venus painting the general opinion at the time was that the one by Cabanel was the best.

The public and the authorities liked the work by Cabanel and accepted the classical justification for depicting a nude woman lying on the crest of a wave. It is ironic that Edouard Manet’s risqué exhibit, Olympia, at the 1865 Salon caused a furore (see My Daily Art Display Oct 12^th 2011). Many conservative art critics termed the work immoral and vulgar. So why would this painting of a nude woman suffer such criticism and the Birth of Venus works two years earlier escape such censure? The answer is probably because the lady in Manet’s work was a courtesan or high-class prostitute and was devoid of any classical mythological or biblical connotation and the way she stares out at us in a provoking and challenging manner was thought to be a step too far and an unwanted reminder that her profession blossomed within Paris Society.

Alexandre Cabanel’s The Birth of Venus painting was bought by Napoleon III and now can be found in the Musée d’Orsay. Cabanel sold the reproduction rights of this work to Goupil, the French art dealers. They had their in-house artist, Adolphe Jourdan, make two smaller copies of the work which Cabanel later re-touched and signed as per his agreement with Goupil. One, sold as a work by Cabanel, now hangs in the Dashesh Museum of Art in Manhatten having originally been purchased by Henry Derby the American bookseller and art collector. The other copy was commissioned in 1875 from Goupil by John Wolfe, and his cousin Catharine Lorillard Wolfe, the daughter of a tobacco heir, John David Wolfe, and the only woman among the 106 founders of The Metropolitan Museum of Art. She was a philanthropist, patron of the Arts and avid art collector. This version, which now hangs in the Metropolitan Museum of Art in New York, is slightly smaller.

In my next blog I will take a final look at the life and works of Alexandre Cabanel and concentrate on his portraiture.

I gleaned most of my information for this blog and the next ones about Cabanel from a great book I came across entitled Alexandre Cabanel – The Tradition of Beauty which was published to coincide with La tradition du beau exhibition of Cabanel’s paintings, which was held at the Wallraf-Richartz Museum in Cologne in 2011 and the Musée Fabre in Montpellier in 2010.

I also came across an excellent website which goes into much greater detail about Cabanel and is well worth a visit. It is:

Stephen Gjertson Galleries

http://stephengjertsongalleries.com/?page_id=2851

Alexandre Cabanel. Part 1 – The early days and Rome

Self portrait by Alexandre Cabanel (1852)

My featured artist today, Alexandre Cabanel, was one of the most well respected Academic artists of the nineteenth century. In my next couple of blogs I will look at this remarkable artist and some of his paintings. His works of art varied from portraiture to historical, classical and religious scenes all executed in an academic style. The term Academic art, also referred to as academicism or eclecticism, is traditionally used to describe the style of art which was championed by the European academies of art, notably the Académie des Beaux-Arts. For Cabanel, Academic art was the true art and during his lifetime he would clash with Impressionist painters and their artistic style. Cabanel was also well known for his décorations d’intériur.

Alexandre Cabanel was born in September 1823 in Montpellier, France. He was the ninth child of Pierre-Jean Cabanel and Marie Anne Jean Cabanel. Even at a young age he showed an early artistic talent and when he was eleven years of age he attended the drawing classes at the Montpellier’s free École des Beaux-Arts, which was run by the French genre painter Charles François Matet. Matet was also curator of the Musée Fabre in Montpellier. Cabanel earned himself some money whilst studying by making copies of artworks which were housed in the city’s Musée Fabre which he then sold. In 1836, thanks to Matet’s recommendation, the Montpellier council awarded Cabanel his first art scholarship to allow him to study in Paris.

Three years later Cabanel’s artistic talent was recognised as being so good that he was awarded a second scholarship to return to Paris. The scholarship was a blessing as his father, who was a cabinet maker, could not have afforded to send him to the French capital. Alexandre did go, thanks to the municipal two-year grant and in the October of 1840, a month after his seventeenth birthday, Alexandre Cabanel enrolled at the School of Painting at the École des Beaux-Arts in Paris as a pupil of François-Edouard Picot . Picot was a well established painter who had studied under Jacques Louis-David and had tried to continue David’s artistic style, that of neoclassical values, to which, in his own works, Picot often added a more romantic flavour.

For Cabanel the École des Beaux-Arts was not just an establishment which taught art it was a place where he was able to study literature, history and religion. Cabanel received a good, well-rounded education and he thrived on the learning that was offered to him and in a way, it helped him convert his knowledge into visual imagery that would play a part in his future works of art. When his two-year scholarship came to an end in the summer of 1841 his mentor Picot wrote to the Montpellier authorities pleading on Cabanel’s behalf, for a further scholarship for his protégé and in return he would gain employment for Cabanel in the form of a major commission in the Hôtel de Ville in Paris.

Agony in the garden by Alexandre Cabanel (1844)

In 1843 aged nineteen, Cabanel exhibited his first work of art at that year’s Salon. It was entitled Agony in the Garden, which is currently housed in the Musée des Beaux-Arts de Valenciennes. In this work Cabanel has placed the Christ figure off-centre. Behind him are a group of his persecutors.

All the time Cabanel was attending L’École des Beaux-Arts he had one aim – to have a painting of his accepted into the establishment’s coveted Prix de Rome competition, in which the winning work of art enabled the artist to receive a scholarship for them to study for a number of years at the Villa Medici in Rome. There were also Prix de Rome scholarships for the best proponents of architecture, sculpture, music and engraving.

Envoys of the Senate offer the Dictatorship to Cincinnatus by Alexandre Cabanel (1844)

In 1843 he managed to reach the preliminary round of the competition with his work entitled Odysseus is Recognised by his Servant and buoyed up by that minor success he entered the competition again in 1844 this time with his painting, Envoys of the Senate offer the Dictatorship to Cincinnatus but he was only awarded sixth place.

The Mocking of Christ by Alexandre Cabanel (1845)

Better luck came in the 1845 competition when his work The Mocking of Christ, sometimes referred to as Christ at the Praetorium, was judged and was awarded second place, with a fellow student of Picot, François-Léon Bénouville taking the top prize. However second prize would not get the artist to Rome but the permanent Secretary to the Académie des Beaux-Arts, Désiré Raoul-Rochette, pleaded Cabanel’s case to be allowed to go to the Villa Medici as no Grand Prize for Music had been awarded that year. A lot of wrangling followed between Rochette and Jean Victor Schnetz, who was director at the Villa Medici, and who was against awarding Cabanel a scholarship. In the end Schnetz backed down and Cabanel was granted a simple scholarship to go to Rome, which was to last for five years and the Prix de Rome second prize given to Cabanel was converted into a “Second First Grand Prize”. All winners of the Prix de Rome received a financial allowance to cover the cost of their trip to Rome plus they were given a sum of money to cover their personal expenses and those they incurred during the production of their work. They also received free room and board. The artists who came to the Villa Medici were allowed considerable freedom to paint subjects of their own choosing, but throughout their tenure they were all required to complete certain projects. This allowed the French government, which had funded the scholarships, a way of assessing the progress of the Prix de Rome winning artists. For the artists it was also a chance to bring their work to the attention of the members of the Academy, who also judged their annual submissions to see if their artistic ability had progressed.

In January 1846 Cabanel set off for Rome. It was early on in his stay at the Villa Medici that he met a fellow Montpellier citizen, Alfred Bruyas, who was enjoying the delights of the Grand Tour. Bruyas was the son of a wealthy banker. He was formerly taught art and would like to have become a professional painter despite his father’s wishes that he should embrace the world of finance and become partner in his father’s bank. Bruyas loved art and loved to paint but soon realised he would never become a great artist and so concentrated on becoming an avid and discerning collector of art and a patron of the arts. Many of his friends were artists such as Gustave Courbet.

Alfred Bruyas by Alexandre Cabanel (1846)

Bruyas supported Cabanel in these early days and in 1846, as a kind of repayment , Cabanel painted Bruyas’ portrait which now hangs in the Musée Fabre in Montpellier. In the painting, Bruyas is depicted as a gentleman-traveller , dressed in his velvet-collared frock coat with a fashionable yellow waistcoat and pink and white cravat. He is standing on the terrace of the Villa Borghese in Rome. Bruyas and Cabanel became great friends during their short time together and Cabanel became very depressed when his friend left Rome in the summer of 1846. Cabanel would write to Bruyas telling him of his feeling of great loss when the latter had left the Eternal City. In one letter, he wrote:

“…Several times of an evening, I have put down on paper details from my present life so as to send them to you in letters. On re-reading them, however, even I found them joyless and full of sorrow that I burned them…”

For many aspiring artists who went to live in Rome they loved the liveliness of the Italian capital with all it had to offer but ,according to Cabanel, all Rome offered him was the chance to paint and copy the works of the Italian Masters. He cut a lonely figure which was summed up in a letter he wrote to Bruyas in 1847. In it he wrote that all he had left for consolation was his art :

“…I have been leading a rather an orderly life, one completely devoted to art. I have remained as untouched, as pure as Rome’s vestal virgins of days gone by……………….What’s more, I am weary of chasing after happiness that turns out to be an illusion, what’s the use? Especially when I believe that I have long found it in my art for instance; I devote myself to it with complete freedom just as one devotes oneself to love or poetry…”

La Chiaruccia by Alexandre Cabanel (1848)

In 1848 Cabanel completed three amazing paintings for Bruyas, all of which are now in the Musée Fabre in Montpellier. They were to be hung together in the form of a triptych. The first was a painting of an Italian lady in traditional country peasant costume. It is entitled La Chiarrucia. The woman who modelled for this work also sat for many of the artists who lived and studied at the Villa Medici.

A Thinker, a Young Roman Monk by Alexandre Cabanel (1848)

The second of his three works, which was to be placed between the other two, was entitled Un penseur, jeune moine romain, (A Thinker, a Young Roman Monk) and depicts a Franciscan monk lost in thought among the ruins of the Forum.

The third, and my favourite, was simply entitled Albaydé. The character of the title comes from Victor Hugo’s poem Fragments of a Serpent, which was one from a 1829 collection of poems known as Orientalia. The scene would appear to be a harem . Cabanel has depicted the young woman, an Oriental courtesan, through the lustful eyes of the poet as she lies back languorously and looks out at us seductively with half closed eyes. The beauty of this woman emanates from her eyes which I saw described as doe-like. Her silken robe is open to the waist exposing the curve of her breasts. She clutches a periwinkle vine which lies across her thighs. It is a very sensuous depiction and she and La Chiaruccia ,either side of the monk, must have made for quite a formidable combination on Bruyas’ wall.

In my next blog I continue with Alexandre Cabanel’s life story and look at more of his exquisite paintings.

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I gleaned most of my information for this blog and the next ones on Cabanel from a great book I came across entitled Alexandre Cabanel – The Tradition of Beauty which was published to coincide with La tradition du beau exhibition of Cabanel’s paintings, which was held at the Wallraf-Richartz Museum in Cologne in 2011 and the Musée Fabre in Montpellier in 2010.