COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1977.127
amicoid
CMA_.1977.127
AMICA ID
false
AMICA Library Year:
2000
aly
2000
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Ribot, Théodule-Augustin
crn
Ribot, Théodule-Augustin
Creator Name
false
Creator Nationality:
European; French
crc
European; French
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1823 - 1891
cdt
1823 - 1891
Creator Dates/Places
false
Biography:
Théodule Ribot first tried to study art at the trade school in Châlons, École des Arts et Métiers. When his father died in 1840, Ribot had to help support his family. He worked as a bookkeeper in Rouen, married early, and left for Paris in 1845. There he did various jobs, studied in the atelier of Auguste-Barthélémy Glaize (1807-1893), and, in 1848, went to Algeria to work as a foreman for three years. Back in Paris, he befriended the painter Bonvin (q.v.), who held an exhibition of pictures by his friends in his studio in 1859. These artists, including Fantin-Latour (q.v.), Alphonse Legros (1837-1911), Antoine Vollon (1833-1900), and J. A. M. Whistler (1834-1903), depicted ordinary subjects from their immediate environments without relying on narrative, and they generally used somber colors, limited illumination, and broader brushwork that contrasted with academic standards and methods. Their work elicited a positive response from Courbet (q.v.), considered the father of realism in France. Ribot first exhibited at a Paris Salon in 1861, when his kitchen scenes won generally favorable reviews. To underscore a humble life-style for the artist, his early biographers claim that the dark, inky backgrounds of his pictures were the result of Ribot's painting by lamplight in his free evenings at home. He continued to depict working-class and peasant subjects in a style variously described as Dutch or Spanish by critics, and he participated in the Salons and provincial and international art exhibitions. Always interested in expanding exhibition opportunities for independent painters like himself, he signed a petition in 1863 that decried the Salon jury's numerous rejections that year and contributed to the official decision to hold the Salon des Refusés. Ribot sold his pictures through art galleries in Paris, such as those of Louis Martinet, Alfred Cadart, and Bernheim Jeune, and the French state bought his St. Sebastian (Musée d'Orsay, Paris) in 1865. In 1878 he was named to the Legion of Honor. The following year a serious illness kept Ribot from painting for two years, and his production fell off after this period. In 1884 his fellow artists, including Jules Bastien-Lepage (1848-1884), Boudin (q.v.), Fantin-Latour, Monet (q.v.), Puvis de Chavannes (q.v.), and Auguste Rodin (1840-1917), held a banquet in his honor and gave him a medal inscribed "To Théodule Ribot, the independent painter." It is ironic, then, that the year after his death a major retrospective exhibition was organized at the official art school, the École des Beaux-Arts in Paris.
crb
Théodule Ribot first tried to study art at the trade school in Châlons, École des Arts et Métiers. When his father died in 1840, Ribot had to help support his family. He worked as a bookkeeper in Rouen, married early, and left for Paris in 1845. There he did various jobs, studied in the atelier of Auguste-Barthélémy Glaize (1807-1893), and, in 1848, went to Algeria to work as a foreman for three years. Back in Paris, he befriended the painter Bonvin (q.v.), who held an exhibition of pictures by his friends in his studio in 1859. These artists, including Fantin-Latour (q.v.), Alphonse Legros (1837-1911), Antoine Vollon (1833-1900), and J. A. M. Whistler (1834-1903), depicted ordinary subjects from their immediate environments without relying on narrative, and they generally used somber colors, limited illumination, and broader brushwork that contrasted with academic standards and methods. Their work elicited a positive response from Courbet (q.v.), considered the father of realism in France. Ribot first exhibited at a Paris Salon in 1861, when his kitchen scenes won generally favorable reviews. To underscore a humble life-style for the artist, his early biographers claim that the dark, inky backgrounds of his pictures were the result of Ribot's painting by lamplight in his free evenings at home. He continued to depict working-class and peasant subjects in a style variously described as Dutch or Spanish by critics, and he participated in the Salons and provincial and international art exhibitions. Always interested in expanding exhibition opportunities for independent painters like himself, he signed a petition in 1863 that decried the Salon jury's numerous rejections that year and contributed to the official decision to hold the Salon des Refusés. Ribot sold his pictures through art galleries in Paris, such as those of Louis Martinet, Alfred Cadart, and Bernheim Jeune, and the French state bought his St. Sebastian (Musée d'Orsay, Paris) in 1865. In 1878 he was named to the Legion of Honor. The following year a serious illness kept Ribot from painting for two years, and his production fell off after this period. In 1884 his fellow artists, including Jules Bastien-Lepage (1848-1884), Boudin (q.v.), Fantin-Latour, Monet (q.v.), Puvis de Chavannes (q.v.), and Auguste Rodin (1840-1917), held a banquet in his honor and gave him a medal inscribed "To Théodule Ribot, the independent painter." It is ironic, then, that the year after his death a major retrospective exhibition was organized at the official art school, the École des Beaux-Arts in Paris.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
St. Nicholas d'Attez (Eure), 5 August 1823
cbp
St. Nicholas d'Attez (Eure), 5 August 1823
Creator Birth Place
false
Creator Death Place:
Colombes, 11 September 1891
cdp
Colombes, 11 September 1891
Creator Death Place
false
Creator Name-CRT:
Théodule-Augustin Ribot
crt
Théodule-Augustin Ribot
Creator Name-CRT
false
Title:
Singers
otn
Singers
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
1863-1868
oct
1863-1868
Creation Date
false
Creation Start Date:
1863
ocs
1863
Creation Start Date
false
Creation End Date:
1868
oce
1868
Creation End Date
false
Materials and Techniques:
oil on fabric
omd
oil on fabric
Materials and Techniques
false
Dimensions:
Unframed: 74cm x 60.3cm
met
Unframed: 74cm x 60.3cm
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:
1977.127
ooa
1977.127
ID Number
false
Credit Line:
Gift of Mr. and Mrs. Noah L. Butkin
ooc
Gift of Mr. and Mrs. Noah L. Butkin
Credit Line
false
Inscriptions:
Signed lower left: t. Ribot
oin
Signed lower left: t. Ribot
Inscriptions
false
Rights:
orl
<a href="http://www.clemusart.com/museum/disclaim2.html"target="_new">http://www.clemusart.com/museum/disclaim2.html</a>
Rights
false
Provenance:
By 1890, Bernheim Jeune (see Distinguishing marks). Frederick R. Sears, Boston. Norton Gallery, New York. Mr. and Mrs. Noah L. Butkin, Cleveland. Given to the CMA in 1977.
opo
By 1890, Bernheim Jeune (see Distinguishing marks). Frederick R. Sears, Boston. Norton Gallery, New York. Mr. and Mrs. Noah L. Butkin, Cleveland. Given to the CMA in 1977.
Provenance
false
Context:
Ribot participated in a loosely defined artistic movement known as "Realism," which sought to depict the gritty lives of workers and peasants. Often dark in tone and somber in mood, Realist paintings focused attention on social problems. Poor singers like these could be seen on the streets of Paris, but pictures of such singers were already a long-established theme in art history.
cxd
Ribot participated in a loosely defined artistic movement known as "Realism," which sought to depict the gritty lives of workers and peasants. Often dark in tone and somber in mood, Realist paintings focused attention on social problems. Poor singers like these could be seen on the streets of Paris, but pictures of such singers were already a long-established theme in art history.
Context
false
Related Image Identifier Link:
CMA_.1977.127.tif
ril
CMA_.1977.127.tif
Related Image Identifier Link
false