COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1964.292
amicoid
CMA_.1964.292
AMICA ID
false
AMICA Library Year:
1998
aly
1998
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Prud'hon, Pierre-Paul
crn
Prud'hon, Pierre-Paul
Creator Name
false
Creator Nationality:
French
crc
French
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1758 - 1823
cdt
1758 - 1823
Creator Dates/Places
false
Biography:
Pierre-Paul Prud'hon studied at the Dijon School of Art under François Devosge (1732-1811), founder and director of one of the most prominent art schools in France. In 1776 Prud'hon met the Baron de Joursanvault, a follower of Jean-Jacques Rousseau and an art lover, who became his first patron. At the age of twenty-two Prud'hon left for Paris, where he attended the Académie Royale and was introduced to Jean-Baptiste Greuze (1725-1805) and Jean-Georges Wille (1715-1808), an important engraver and collector. Soon after he returned to Dijon in 1784, he won the Prix de Rome and left for Italy, where he would spend four decisive years. He studied the works of Raphael (1483-1520), Leonardo da Vinci (1452--1519), and Correggio (ca. 1489/94-1534) as well as antique sculptures. He was influenced by the artists Anton Raphael Mengs (1728-1779), Antonio Canova (1757-1822), and Angelica Kauffmann (1741-1807) rather than his own countrymen, the pupils of David (q.v.). When he returned to Paris in 1788, Prud'hon endorsed the revolutionary ideals. He attended the meetings of David's Club des Arts and made drawings with political overtones that were to be engraved. After Robespierre's execution, Prud'hon was forced to live in exile in the Franche-Comté (1794-96), where he painted several portraits and made book illustrations. Upon his return to Paris he was elected to the Institut de France and received private and public commissions for decorative projects, including, for example, the ceilings in the Greek sculpture rooms of the Louvre and designs for the celebrations of the emperor's coronation and his marriage to Marie-Louise of Austria. During the First Empire (1805-15) he became equally respected for his imperial portraits and was appointed drawing instructor of the new empress. During the Bourbon restoration (1815-23) he still received several public commissions, even though he did not sympathize with the regime. In 1802 Prud'hon's wife had to be institutionalized, leaving him to care for their five children. He would be supported in this task by his pupil, Constance Mayer (1774-1821), who not only became his mistress but also his first artistic collaborator. (Prud'hon often made the preparatory drawings for her paintings.) His last years were plagued with many problems, and Mayer's suicide in 1821 affected him tremendously. He would survive her only briefly, dying two years later in 1823.
crb
Pierre-Paul Prud'hon studied at the Dijon School of Art under François Devosge (1732-1811), founder and director of one of the most prominent art schools in France. In 1776 Prud'hon met the Baron de Joursanvault, a follower of Jean-Jacques Rousseau and an art lover, who became his first patron. At the age of twenty-two Prud'hon left for Paris, where he attended the Académie Royale and was introduced to Jean-Baptiste Greuze (1725-1805) and Jean-Georges Wille (1715-1808), an important engraver and collector. Soon after he returned to Dijon in 1784, he won the Prix de Rome and left for Italy, where he would spend four decisive years. He studied the works of Raphael (1483-1520), Leonardo da Vinci (1452--1519), and Correggio (ca. 1489/94-1534) as well as antique sculptures. He was influenced by the artists Anton Raphael Mengs (1728-1779), Antonio Canova (1757-1822), and Angelica Kauffmann (1741-1807) rather than his own countrymen, the pupils of David (q.v.). When he returned to Paris in 1788, Prud'hon endorsed the revolutionary ideals. He attended the meetings of David's Club des Arts and made drawings with political overtones that were to be engraved. After Robespierre's execution, Prud'hon was forced to live in exile in the Franche-Comté (1794-96), where he painted several portraits and made book illustrations. Upon his return to Paris he was elected to the Institut de France and received private and public commissions for decorative projects, including, for example, the ceilings in the Greek sculpture rooms of the Louvre and designs for the celebrations of the emperor's coronation and his marriage to Marie-Louise of Austria. During the First Empire (1805-15) he became equally respected for his imperial portraits and was appointed drawing instructor of the new empress. During the Bourbon restoration (1815-23) he still received several public commissions, even though he did not sympathize with the regime. In 1802 Prud'hon's wife had to be institutionalized, leaving him to care for their five children. He would be supported in this task by his pupil, Constance Mayer (1774-1821), who not only became his mistress but also his first artistic collaborator. (Prud'hon often made the preparatory drawings for her paintings.) His last years were plagued with many problems, and Mayer's suicide in 1821 affected him tremendously. He would survive her only briefly, dying two years later in 1823.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
Cluny, Saône-et-Loire, 4 April 1758
cbp
Cluny, Saône-et-Loire, 4 April 1758
Creator Birth Place
false
Creator Death Place:
Paris, 16 February 1823
cdp
Paris, 16 February 1823
Creator Death Place
false
Creator Name-CRT:
Pierre-Paul Prud'hon
crt
Pierre-Paul Prud'hon
Creator Name-CRT
false
Title:
Mme. Dufresne
otn
Mme. Dufresne
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
c. 1816
oct
c. 1816
Creation Date
false
Creation Start Date:
1811
ocs
1811
Creation Start Date
false
Creation End Date:
1821
oce
1821
Creation End Date
false
Materials and Techniques:
oil on paper mounted on fabric
omd
oil on paper mounted on fabric
Materials and Techniques
false
Classification Term:
Painting
clt
Painting
Classification Term
false
Dimensions:
Framed: 34.5cm x 27cm x 5cm, Unframed: 23.8cm x 17.5cm
met
Framed: 34.5cm x 27cm x 5cm, Unframed: 23.8cm x 17.5cm
Dimensions
false
AMICA Contributor:
The Cleveland Museum of Art
oon
The Cleveland Museum of Art
AMICA Contributor
false
Owner Location:
Cleveland, Ohio, USA
oop
Cleveland, Ohio, USA
Owner Location
false
ID Number:
1964.292
ooa
1964.292
ID Number
false
Credit Line:
Severance and Greta Millikin Collection
ooc
Severance and Greta Millikin Collection
Credit Line
false
Inscriptions:
Inscription on face of frame: prud'hon. portrait de mme dufresne
oin
Inscription on face of frame: prud'hon. portrait de mme dufresne
Inscriptions
false
Rights:
orl
<a href="http://www.clevelandart.org/museum/disclaim2.html"target="_new">http://www.clevelandart.org/museum/disclaim2.html</a>
Rights
false
Provenance:
Atelier Prud'hon. Collection Boisfremont (pupil and friend of the artist). Paris sale, M. de Boisfremont fils, Drouot, 9 April 1870 (lot 8), Esquisse peinte pour servir à un portrait en pied de Mme D***, ff 190 (price according to annotated catalogue; according to Goncourt 1876, sold for ff 310). M. de Norzy until 1873. M. Jeanne-Deslandes, 1874. Anonymous sale, Paris, 24 April 1886 (52), Portrait de Mme Dufresne, représentée dans un parc, ff 380. Collection Henri Rochefort. Collection Paul-Arthur Chéramy. His sale, Paris, Galerie Petit, 5-7 May 1908 (lot 95), Jeune femme assise dans un parc, bought in. Paul-Arthur Chéramy estate sale, Paris, Drouot, 14-16 April 1913 (lot 391), Jeune femme assise dans un parc, D. David-Weill, Paris. Irwin Laughlin, Washington, D.C. His sale, London, Sotheby's, 10 June 1959 (lot 123, repr.), £300 to Betts. Clifford Duits, London. Sold in 1963 to Mr. and Mrs. Severance A. Millikin, Cleveland. Given to the CMA in 1964.
opo
Atelier Prud'hon. Collection Boisfremont (pupil and friend of the artist). Paris sale, M. de Boisfremont fils, Drouot, 9 April 1870 (lot 8), Esquisse peinte pour servir à un portrait en pied de Mme D***, ff 190 (price according to annotated catalogue; according to Goncourt 1876, sold for ff 310). M. de Norzy until 1873. M. Jeanne-Deslandes, 1874. Anonymous sale, Paris, 24 April 1886 (52), Portrait de Mme Dufresne, représentée dans un parc, ff 380. Collection Henri Rochefort. Collection Paul-Arthur Chéramy. His sale, Paris, Galerie Petit, 5-7 May 1908 (lot 95), Jeune femme assise dans un parc, bought in. Paul-Arthur Chéramy estate sale, Paris, Drouot, 14-16 April 1913 (lot 391), Jeune femme assise dans un parc, D. David-Weill, Paris. Irwin Laughlin, Washington, D.C. His sale, London, Sotheby's, 10 June 1959 (lot 123, repr.), £300 to Betts. Clifford Duits, London. Sold in 1963 to Mr. and Mrs. Severance A. Millikin, Cleveland. Given to the CMA in 1964.
Provenance
false
Context:
The artist made this sketch in preparation for a full-length portrait of Madame Dufresne that is now lost. Prud'hon showed the sitter-probably the wife of an art dealer-in a landscape where she is seated in a relaxed pose with her legs crossed. According to an early auction record, the composition is based upon one of several sketches Prud'hon made for a portrait of Empress Josephine (1763-1814). The empress probably rejected the pose as too casual. Prud'hon's portraits show his skill in capturing emotions, especially melancholy. This is true of the Cleveland portrait; despite its rough surface, we sense the sitter's gentle demeanor and slightly wistful expression.In 1789 Prud'hon was awarded the Prix de Rome, a scholarship that allowed especially gifted French art students the chance to study in Rome. While in Italy, Prud'hon was deeply influenced not only by ancient Roman art but also by the lively, inter-national Neoclassical movement that was centered there. After his return to France, the artist became very popular with Napoleon, painting portraits of the emperor and his entourage and acting as Empress Josephine's drawing instructor.
cxd
The artist made this sketch in preparation for a full-length portrait of Madame Dufresne that is now lost. Prud'hon showed the sitter-probably the wife of an art dealer-in a landscape where she is seated in a relaxed pose with her legs crossed. According to an early auction record, the composition is based upon one of several sketches Prud'hon made for a portrait of Empress Josephine (1763-1814). The empress probably rejected the pose as too casual. Prud'hon's portraits show his skill in capturing emotions, especially melancholy. This is true of the Cleveland portrait; despite its rough surface, we sense the sitter's gentle demeanor and slightly wistful expression.In 1789 Prud'hon was awarded the Prix de Rome, a scholarship that allowed especially gifted French art students the chance to study in Rome. While in Italy, Prud'hon was deeply influenced not only by ancient Roman art but also by the lively, inter-national Neoclassical movement that was centered there. After his return to France, the artist became very popular with Napoleon, painting portraits of the emperor and his entourage and acting as Empress Josephine's drawing instructor.
Context
false
Related Image Identifier Link:
CMA_.1964.292.tif
ril
CMA_.1964.292.tif
Related Image Identifier Link
false