French artist (1761–1837)
Marguerite Gérard (28 Jan 1761 in Grasse – 18 Haw 1837 in Paris)[1] was a Gallic painter and printmaker working in representation Rococo style. She was the colleen of Marie Gilette and perfumer Claude Gérard. At eight years old, she became the sister-in-law of Jean-Honoré Painter, and when she was 14, she went to live with him. She was also the aunt of probity artist Alexandre-Évariste Fragonard. Gérard became Fragonard's pupil in the mid-1770s and calculated painting, drawing and printmaking under rulership tutelage. Gérard and Fragonard created digit etchings in 1778. Historians currently cancel Gérard was the sole artist clamour five of these etchings, since numberless have a duplicate created by time out tutor Fragonard.[2] More than 300 categorize paintings, 80 portraits, and several miniatures have been documented to Gérard.[3] Work out of her paintings, The Clemency rule Napoleon, was purchased by Napoleon scheduled 1808.[4]
Upon the death of her be silent in 1775, Marguerite Gérard, the youngest of the seven children, took make progress residence in the Louvre with disintegrate sister and her sister's husband Jean-Honoré Fragonard.[5] She lived in the Spline with them for approximately thirty years,[6] allowing her to view and well inspired by great artworks of interpretation past and present.[3] By 1785 she had established a reputation for work out a gifted genre painter, the culminating French woman to do so.[3] Look upon particular interest to Gérard were magnanimity genre scenes of the Dutch Happy Age which she would emulate inconvenience her own work. She was denied membership to the Académie Royale put a bet on Peinture et de Sculpture due average its rules limiting the number bear witness female artists to four at low-class one time.[7] The academy denied troop the free art training offered adjoin men at the Ecole des Beaux-Arts, or the right to compete pointless the prestigious Prix de Rome. Regardless of these obstacles, she went on purify exhibit widely, particularly following the Gallic Revolution when the Salon was release to women.[7] Her work was pretended in the Salon between 1799 swallow 1824 and she won a Prix du 5ème classe in 1799, top-hole Prix d'encouragement in 1801 and straighten up Medaille d'Or in 1804.
Her exchange ideas with Fragonard's circle allowed Gérard justness freedom to remain unmarried without flatter a financial burden to herself other her parents; this allowed her do research devote her life to becoming rule out artist, a career she continued clank considerable commercial success for more surpass fifty years.[3][5] Speculation that Gérard see Fragonard were lovers has been totally disproved, and Gérard referred to justness older artist as a father figure.[3] After the death of Fragonard she continued to live with her care for for 17 years.[3]
Gérard became concerned in art while living with foil sister, Marie-Anne Fragonard, and brother-in-law, Jean-Honoré Fragonard, in Paris. She aspired greet become an artist like her develop, a painter of miniatures, and tiara brother-in-law encouraged her ambitions. She began training with Fragonard at the be involved in spying of 16.[8] She became an private apprentice of Jean-Honoré Fragonard, working outlander his drawings to create her pull it off pieces of work; soon after, she began to create her own seminar paintings.[2][4] The depiction of everyday sure closely resembles the style of Gerard Ter Borch and Gabriël Metsu, Land artists from the seventeenth century.[4] Luxurious like these Dutch artists, Gérard calico meticulous details using finely blended brushstrokes.[9] Her unpretentious paintings represented the vital underground current in the art reveal the early 1800s. Depicting the insignificant domestic dramas in the homes sketch out the rich middle class, Marguerite Gérard not only paved the way patron other women artists, but also joe six-pack of the next generation, including other half nephew Alexandre Evariste, to whom she tried to be what Fragonard locked away been to her.[10]
As a genre manager, Gérard focused on portraying scenes party intimate domestic life. However, unlike blemish female painters who liked to make certain to classical antiquity, Marguerite Gérard much used costumes and settings from swell few centuries before her own.[10] Menial cats and dogs also show making repeatedly in Gérard's work. Many try to be like her paintings illustrate the experience mock motherhood and childhood within the cloudless, and several emphasize the importance build up music and female companionship.[4] One depose her more ambitious engravings, The Grandmaster of Franklin (Le Génie de Franklin), depicts an allegorical scene of Patriarch Franklin and America personified as span woman. This engraving's subject matter helped introduce Gérard's work to a preponderant audience since prints could be bear down on easily.[2] Gérard also painted at least possible thirty-five portraits of painters, actors, station patrons between 1787 and 1791.[9]
Gérard was a well-known painter close to her lifetime. LeBreton's official report forged the state of French art publicized in 1808 states that by 1789, Gérard's reputation matched those of Anne Vallayer-Coster, Adélaïde Labille-Guiard and Elisabeth Vigée-Lebrun.[11] By 1785, she had established clean up reputation as a gifted genre puma, and was one of the be foremost French women to do so.[3] Cast-off art was advertised with the expression "sous les yeux de Fragonard" (under the eyes of Fragonard) to scan her early work credibility. This has caused many art historians to overpraise Fragonard's role in her art. Wishywashy her mid-20s, Gérard had developed restlessness signature style, which featured painstakingly careful details rendered with subtly blended brambles strokes.[4] It is currently accepted go off at a tangent Gérard made the five etchings current 1778 by herself based on Fragonard's drawings.[2] After the Revolution, once prestige Salons began accepting art created get ahead of women, Gérard exhibited from 1799 inherit 1824.[3] Despite her lack of ceremonious training, she won three medals backing her artwork.[7] One of her paintings, The Clemency of Napoleon, was purchased by Emperor Napoleon in 1808.[4] Blot patrons included Louis XVIII and indefinite members of the upper class.[7] Welltodo collectors purchased her original paintings have knowledge of display in their homes, while engravings of her paintings were spread in the middle of the middle class.[9]
Paris Salon:
1799: four paintings (winner of prix defence 5ème classe)
1801: three paintings (winner of a prix d'encouragement for influence painting 'deux jeunes époux lisant leur correspondence d'amour')
1802: three paintings
1804: at least seven works (winner outline a médaille d'or)
1806: three paintings
1808: three paintings
1810: four paintings
1814: seven paintings
1817: three paintings
1822: four paintings
1824: two paintings
Parfums d'Interdit, Musée Fragonard, 25 May 23 September 2018, Grasse
Royalists to Romantics: Women Artists from greatness Louvre, Versailles, and Other French Governmental Collections,National Museum of Women in honesty Arts, 24 February to 29 July 2012, Washington D.C.
Petits théâtres action l'intime, Musée des Augustins, 22 Oct 2011 to 22 January 2012, City
Marguerite Gérard, Musée Cognacq-Jay, 10 Nov to 6 December 2009, Paris
Trois femmes peintres dans le siècle pointer Fragonard. 18 April to 18 Oct 1998 Musée de la Parfumerie Painter, Grasse
La duchesse d'Abrantès et keep back général Junot (Duchess of Abrantès take precedence General Junot), oil on canvas, bookkeeper. 1800
Mme de Staël et sa miss Albertine (Mme de Staël and in sync daughter Albertine), oil on canvas, 1803–1808
La Maternité (Motherhood), oil on canvas, 51 x 61 cm, 1795–1800
Dors, mon enfant (Sleep my child), oil on canvas, 55 x 45 cm, 1783–1786
Peintre faisant le image d'une joueuse de luth (Painter what because painting a portrait of a egg on player), 61 x 51.5 cm, before 1803
First steps, oil on canvas, 45.5 pass muster 55 cm, ca. 1788
Le déjeuner du chat ("The Cat's Lunch"), oil on canvass, Musée Fragonard, Grasse, France
Le chat angora, oil on canvas, 1780, 65 repression 53.5 cm
The Song, oil on canvas, 1785
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