Julien Vallou de Villeneuve: Difference between revisions
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Vallou de Villeneuve studied with [[Jean-François Millet]], and started his career at the Salon of 1814, exhibiting images depicting daily life, fashion, regional costumes and nude photographs. In the 1820s and 30s he developed an international following for his folio-sized [[lithographic]] erotic series ''Les Jeunes Femmes, ''depicting racy episodes in the life of young women and their lovers. |
Vallou de Villeneuve studied with [[Jean-François Millet]], and started his career at the Salon of 1814, exhibiting images depicting daily life, fashion, regional costumes and nude photographs. In the 1820s and 30s he developed an international following for his folio-sized [[lithographic]] erotic series ''Les Jeunes Femmes, ''depicting racy episodes in the life of young women and their lovers. |
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From 1842 Villeneuve took up the camera, producing softly toned [[calotype|salted paper prints]] from paper negatives of the same subject matter. He moved to Paris in 1850, founding the ''[[Société française de photographie]]'' in 1854. He was also a member of the ''Société héliographique''. Realist painter [[Gustave Courbet]] was introduced to his photographs by fellow artist [[Alfred Bruyas]] during the 1850s and used them as source material for his paintings, in particular ''L'Atelier'' (1855) and ''Les Baigneuses ''(1853). In 1954, the 27th Venice Biennale presented a large-scale retrospective devoted to Gustave Courbet; one of the first major exhibitions devoted to the painter. Germain Bazin and Helene Adhemar (conservator, Department of Paintings at the Louvre) were the commissioners of ”A new century of vision" which gave an essential place for artistic creations of the Second Empire. Jean Adhemar, curator, stressed that "first photographers are almost all painters, especially under Napoleon III". The section on “The times of Courbet, Manet, Nadar" was one of the richest in both the number of works presented - forty - |
From 1842 Villeneuve took up the camera, producing softly toned [[calotype|salted paper prints]] from paper negatives of the same subject matter. He moved to Paris in 1850, founding the ''[[Société française de photographie]]'' in 1854. He was also a member of the ''Société héliographique''. Realist painter [[Gustave Courbet]] was introduced to his photographs by fellow artist [[Alfred Bruyas]] during the 1850s and used them as source material for his paintings, in particular ''L'Atelier'' (1855) and ''Les Baigneuses ''(1853). In 1954, the 27th Venice Biennale presented a large-scale retrospective devoted to Gustave Courbet<ref>Dominique de Font-Réaulx , "The audacity of a French position. " , photographic studies , 25 | May 2010 , [Online], posted on May 5, 2010. URL: http://etudesphotographiques.revues.org/3059. accessed December 5, 2014.</ref>; one of the first major exhibitions devoted to the painter. Germain Bazin and Helene Adhemar (conservator, Department of Paintings at the Louvre) were the commissioners of ”A new century of vision" which gave an essential place for artistic creations of the Second Empire. Jean Adhemar, curator, stressed that "first photographers are almost all painters, especially under Napoleon III". The section on “The times of Courbet, Manet, Nadar" was one of the richest in both the number of works presented - forty - and the scope of the subjects: it articulated the parallel between the realistic vision of the painter and the photographer. This was thus the first to attempt to identify the model in the nude photography requested by Courbet of Bruyas and mentioned for the first time by Pierre Borel in 1922<ref> Borel Pierre (1922) The Romance of Gustave Courbet, from an original correspondence , Paris, R. Chiberre.</ref>. A nude by Jacques Moulin (also exhibited) had previously been connected with the model in ''The Artist's Studio (L'Atelier du peintre): A Real Allegory of a Seven Year Phase in my Artistic and Moral Life'' (1855), by evoking the similarity of the models. But two photographs by Vallou Villeneuve, exhibited in the same section, where the model poses in an attitude similar to that in Courbet’s 'Bathers' (1853) and 'Artist's Studio' showed it likely (as subsequent studies have confirmed), that the Vallou model and not Moulin’s was used by Courbet.<ref>{{Citation | author1=Scharf, Aaron | author2=Scharf, Aaron, 1922- | title=Art and photography | publication-date=1968 | publisher=Allen Lane | isbn=978-0-7139-0052-1 }}</ref> |
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No photographs by him after 1855 are recorded. |
No photographs by him after 1855 are recorded. |
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Revision as of 04:44, 5 December 2014
Julien Vallou de Villeneuve (12 December 1795 in Boissy-Saint-Léger – 4 May 1866 in Paris) was a French painter, lithographer and photographer.
Vallou de Villeneuve studied with Jean-François Millet, and started his career at the Salon of 1814, exhibiting images depicting daily life, fashion, regional costumes and nude photographs. In the 1820s and 30s he developed an international following for his folio-sized lithographic erotic series Les Jeunes Femmes, depicting racy episodes in the life of young women and their lovers.
From 1842 Villeneuve took up the camera, producing softly toned salted paper prints from paper negatives of the same subject matter. He moved to Paris in 1850, founding the Société française de photographie in 1854. He was also a member of the Société héliographique. Realist painter Gustave Courbet was introduced to his photographs by fellow artist Alfred Bruyas during the 1850s and used them as source material for his paintings, in particular L'Atelier (1855) and Les Baigneuses (1853). In 1954, the 27th Venice Biennale presented a large-scale retrospective devoted to Gustave Courbet[1]; one of the first major exhibitions devoted to the painter. Germain Bazin and Helene Adhemar (conservator, Department of Paintings at the Louvre) were the commissioners of ”A new century of vision" which gave an essential place for artistic creations of the Second Empire. Jean Adhemar, curator, stressed that "first photographers are almost all painters, especially under Napoleon III". The section on “The times of Courbet, Manet, Nadar" was one of the richest in both the number of works presented - forty - and the scope of the subjects: it articulated the parallel between the realistic vision of the painter and the photographer. This was thus the first to attempt to identify the model in the nude photography requested by Courbet of Bruyas and mentioned for the first time by Pierre Borel in 1922[2]. A nude by Jacques Moulin (also exhibited) had previously been connected with the model in The Artist's Studio (L'Atelier du peintre): A Real Allegory of a Seven Year Phase in my Artistic and Moral Life (1855), by evoking the similarity of the models. But two photographs by Vallou Villeneuve, exhibited in the same section, where the model poses in an attitude similar to that in Courbet’s 'Bathers' (1853) and 'Artist's Studio' showed it likely (as subsequent studies have confirmed), that the Vallou model and not Moulin’s was used by Courbet.[3]
No photographs by him after 1855 are recorded.
Vallou de Villeneuve is buried at Père Lachaise Cemetery (31st division, 1st ligne, U 33)[4]
Gallery
References
- ^ Dominique de Font-Réaulx , "The audacity of a French position. " , photographic studies , 25 | May 2010 , [Online], posted on May 5, 2010. URL: http://etudesphotographiques.revues.org/3059. accessed December 5, 2014.
- ^ Borel Pierre (1922) The Romance of Gustave Courbet, from an original correspondence , Paris, R. Chiberre.
- ^ Scharf, Aaron; Scharf, Aaron, 1922- (1968), Art and photography, Allen Lane, ISBN 978-0-7139-0052-1
{{citation}}: CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link) - ^ Normand-Romain, Antoinette Le (1986) ‘Tombeaux d'artistes’ Revue de l'Art V.74:74, Comité français d'histoire de l'art p.55-63
External links
- Julien Vallou de Villeneuve (1795-1866)
- metmuseum.org
- Julien Vallou de Villeneuve on Answers.com
- Collection des costumes des Provinces Septentrionales du Royaume des Pays Bas dessinés d'après nature, collection of Dutch costumes with color lithographs by Villeneuve, published by François Buffa et fils, 1828, on Google books
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