COLLECTION NAME:
The AMICA Library
mediaCollectionId
AMICO~1~1
The AMICA Library
Collection
true
AMICA ID:
CMA_.1980.4
amicoid
CMA_.1980.4
AMICA ID
false
AMICA Library Year:
2001
aly
2001
AMICA Library Year
false
Object Type:
Paintings
oty
Paintings
Object Type
false
Creator Name:
Aligny, Théodore Caruelle d'
crn
Aligny, Théodore Caruelle d'
Creator Name
false
Creator Nationality:
European; French
crc
European; French
Creator Nationality
false
Creator Role:
artist
crr
artist
Creator Role
false
Creator Dates/Places:
1798 - 1871
cdt
1798 - 1871
Creator Dates/Places
false
Biography:
Théodore Caruelle d'Aligny's early artistic practice was spent in the ateliers of mythological genre painter Jean-Baptiste Regnault (1754-1829) and landscape artist Louis-Étienne Watelet (1780-1866). Aligny first exhibited at the Salon of 1822 with Daphnis and Chloé (location unknown), which received little notice. As was the custom for artists in the nineteenth century, Aligny made a pilgrimage to Italy, where he remained until 1827. While in Rome, he met Corot (q.v.), whom Aligny acknowledged as his master, although Corot was only two years older. Aligny traveled and sketched in the Roman countryside with Corot, Édouard Bertin (1797-1871), Prosper Barbot (1798-1878), and Léon Fleury (1804-1858). Characteristic of Aligny's landscapes is a detailed study of nature based on careful observation and medi-tation. He made numerous drawings and oil sketches directly from nature for his own study and for finished paintings, which would be completed in his studio. Upon his return to Paris in 1827, he exhibited in the Salon of that year, where he again attracted little attention. The following year marked the beginning of frequent retreats to the forest of Fontainebleau near Paris, where he often sketched en plein air alongside Corot, Diaz de la Peña (q.v.), and Rousseau (q.v.). Aligny began exhibiting regularly at the Salon after 1831, when one of the six landscape paintings he entered won him a second-class medal. In 1837 he received a first-class medal for Prometheus on the Caucasus (Musée du Louvre, Paris), a work that was bought by the state. As a result, landscape painters seeking apprenticeship flocked to his studio the following years, and he received numerous state commissions. In 1861 Aligny accepted the position of director of the École des Beaux-Arts in Lyons, where he resided, worked, and continued to sketch after nature until his death in 1871.
crb
Théodore Caruelle d'Aligny's early artistic practice was spent in the ateliers of mythological genre painter Jean-Baptiste Regnault (1754-1829) and landscape artist Louis-Étienne Watelet (1780-1866). Aligny first exhibited at the Salon of 1822 with Daphnis and Chloé (location unknown), which received little notice. As was the custom for artists in the nineteenth century, Aligny made a pilgrimage to Italy, where he remained until 1827. While in Rome, he met Corot (q.v.), whom Aligny acknowledged as his master, although Corot was only two years older. Aligny traveled and sketched in the Roman countryside with Corot, Édouard Bertin (1797-1871), Prosper Barbot (1798-1878), and Léon Fleury (1804-1858). Characteristic of Aligny's landscapes is a detailed study of nature based on careful observation and medi-tation. He made numerous drawings and oil sketches directly from nature for his own study and for finished paintings, which would be completed in his studio. Upon his return to Paris in 1827, he exhibited in the Salon of that year, where he again attracted little attention. The following year marked the beginning of frequent retreats to the forest of Fontainebleau near Paris, where he often sketched en plein air alongside Corot, Diaz de la Peña (q.v.), and Rousseau (q.v.). Aligny began exhibiting regularly at the Salon after 1831, when one of the six landscape paintings he entered won him a second-class medal. In 1837 he received a first-class medal for Prometheus on the Caucasus (Musée du Louvre, Paris), a work that was bought by the state. As a result, landscape painters seeking apprenticeship flocked to his studio the following years, and he received numerous state commissions. In 1861 Aligny accepted the position of director of the École des Beaux-Arts in Lyons, where he resided, worked, and continued to sketch after nature until his death in 1871.
Biography
false
Gender:
M
cgn
M
Gender
false
Creator Birth Place:
Chaumes, 24 January 1798
cbp
Chaumes, 24 January 1798
Creator Birth Place
false
Creator Death Place:
Lyons, 24 February 1871
cdp
Lyons, 24 February 1871
Creator Death Place
false
Creator Name-CRT:
Théodore Caruelle d' Aligny
crt
Théodore Caruelle d' Aligny
Creator Name-CRT
false
Title:
Les baigneuses, souvenir des bords de l'Anio, à Tivoli
otn
Les baigneuses, souvenir des bords de l'Anio, à Tivoli
Title
false
Title Type:
Foreign
ott
Foreign
Title Type
false
Title:
The Bathers, Souvenir of the Banks of the Anio River at Tivoli
otn
The Bathers, Souvenir of the Banks of the Anio River at Tivoli
Title
false
Title Type:
Primary
ott
Primary
Title Type
false
View:
Full View
rid
Full View
View
false
Creation Date:
c. 1860/1861
oct
c. 1860/1861
Creation Date
false
Creation Start Date:
1860
ocs
1860
Creation Start Date
false
Creation End Date:
1861
oce
1861
Creation End Date
false
Materials and Techniques:
oil on wood panel
omd
oil on wood panel
Materials and Techniques
false
Dimensions:
Unframed: 37.5cm x 41cm
met
Unframed: 37.5cm x 41cm
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:
1980.4
ooa
1980.4
ID Number
false
Credit Line:
Mr. and Mrs. William H. Marlatt Fund
ooc
Mr. and Mrs. William H. Marlatt Fund
Credit Line
false
Inscriptions:
Signed lower center: th. aligny
oin
Signed lower center: th. aligny
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:
Possibly Paris, Aligny sale, Drouot, 8-9 March 1878 (lot 1), Les Baigneuses. Paris art market. Bought in 1979 by Hazlitt, Gooden & Fox, London. Purchased by the CMA on 22 November 1980.
opo
Possibly Paris, Aligny sale, Drouot, 8-9 March 1878 (lot 1), Les Baigneuses. Paris art market. Bought in 1979 by Hazlitt, Gooden & Fox, London. Purchased by the CMA on 22 November 1980.
Provenance
false
Related Image Identifier Link:
CMA_.1980.4.TIF
ril
CMA_.1980.4.TIF
Related Image Identifier Link
false