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'''Alexandre Cabanel''' ({{IPA|fr|kabanɛl|lang}}; 28 September 1823 – 23 January 1889) was a French [[Painting|painter]]. He painted historical, classical and religious subjects in the [[Academic art|academic style]].<ref>{{cite thesis |last1=Kidd |first1=Rebecca |title=Alexandre Cabanel's St. Monica in a Landscape: A Departure from Iconographic Traditions |date=2019 |url=https://dc.uwm.edu/etd/2208/ }}</ref> He was also well known as a portrait painter. He was [[Napoleon III]]'s preferred painter<ref>''Diccionario Enciclopedico Salvat'', Barcelona, 1982.</ref> and, with [[Gérôme]] and [[Ernest Meissonier|Meissonier]], was one of "the three most successful artists of the [[Second French Empire|Second Empire]]."<ref>Wright, Barbara. ''Eugéne Fromentin: A Life in Art and Letters'', Bern: Peter Lang, 2000, p. 432.</ref>
'''Alexandre Cabanel''' ({{IPA|fr|kabanɛl|lang}}; 28 September 1823 – 23 January 1889) was a French [[Painting|painter]]. He painted historical, classical and religious subjects in the [[Academic art|academic style]].<ref>{{cite thesis |last1=Kidd |first1=Rebecca |title=Alexandre Cabanel's St. Monica in a Landscape: A Departure from Iconographic Traditions |date=2019 |url=https://dc.uwm.edu/etd/2208/ }}</ref> He was also well known as a portrait painter. He was [[Napoleon III]]'s preferred painter<ref>''Diccionario Enciclopedico Salvat'', Barcelona, 1982.</ref> and, with [[Gérôme]] and [[Ernest Meissonier|Meissonier]], was one of "the three most successful artists of the [[Second French Empire|Second Empire]]."<ref>Wright, Barbara. ''Eugéne Fromentin: A Life in Art and Letters'', Bern: Peter Lang, 2000, p. 432.</ref>


==Biography==
==Career==
Cabanel was the son of a modest carpenter, and he began his apprenticeship at the Montpellier School of Fine Arts in the class of Charles Matet, curator of the [[Musée Fabre]]. Equipped with a scholarship, he moved to Paris in 1839.
Cabanel was the son of a modest carpenter, and he began his apprenticeship at the Montpellier School of Fine Arts in the class of Charles Matet, curator of the [[Musée Fabre]]. Equipped with a scholarship, he moved to Paris in 1839.


Cabanel entered the [[École Nationale Supérieure des Beaux-Arts|École des Beaux-Arts in Paris]] at the age of seventeen, in 1840, where he studied with [[François-Édouard Picot]].
Cabanel entered the [[École Nationale Supérieure des Beaux-Arts|École des Beaux-Arts in Paris]] at the age of seventeen, in 1840, where he studied with [[François-Édouard Picot]].


After two failures, with the paintings ''Cincinnatus receiving the ambassadors of Rome'', in 1843, and ''Christ in the Garden of Olives'', in 1844, he won the [[Prix de Rome]] scholarship, in 1845 at the age of 22.<ref>{{cite book|last=Facos|first=Michelle|author-link=Michelle Facos|title=An Introduction to Nineteenth Century Art|year=2011|publisher=Routledge|location=New York|page=282}}</ref> He would be a resident of the [[Villa Medici]] until 1850.
After two failures, with the paintings ''Cincinnatus receiving the ambassadors of Rome'', in 1843, and ''Christ in the Garden of Olives'', in 1844, he won the [[Prix de Rome]] scholarship, in 1845 at the age of 22.<ref>{{cite book|last=Facos|first=Michelle|title=An Introduction to Nineteenth Century Art|year=2011|publisher=Routledge|page=282}}</ref> He would be a resident of the [[Villa Medici]] until 1850.


Cabanel was both a history painter and a genre painter, and he evolved over the years towards romantic themes, like ''Albaydé'' (1848), inspired by ''Les Orientales'', by [[Victor Hugo]] (1829).
Cabanel was both a history painter and a genre painter, and he evolved over the years towards romantic themes, like ''Albaydé'' (1848), inspired by ''Les Orientales'', by [[Victor Hugo]] (1829).


He received the insignia of knight of the [[Legion of Honor]], in 1855.
He received the insignia of knight of the [[Legion of Honor]], in 1855.  
 
Also in 1855, he married Marie-Clémentine Legrand, with whom he had three children. Legrand and two of the children died in 1867. He remarried in 1869, but his second wife also died just four years later.<ref>{{cite web|title=Alexandre Cabanel|url=https://cirtemmysart.com/blog/alexandre-cabanel/#:~:text=After%20a%20year%20of%20study,died%20just%20four%20years%20later|publisher=Cirtemmysart|date=15 June 2022}}</ref>


He gained more recognition with ''[[The Birth of Venus (Cabanel)|The Birth of Venus]]'', exhibited at the Salon of 1863, and which was immediately purchased by [[Napoleon III]] for his personal collection. The acclaimed painting entered the [[Luxembourg Museum]], in 1881, and is now held at the [[Musée d'Orsay]], in Paris. He signed a contract with the Goupil house for the marketing of engraved reproductions of this painting. There is a smaller replica, painted in 1875 for a banker, John Wolf, now at the [[Metropolitan Museum of Art]], in New York City. It was offered to the museum by Wolf in 1893. The classical composition embodies ideals of [[Academic art]]: a mythological subject, graceful modeling, silky brushwork, and perfected forms. This style was perennially popular with collectors, even as when it was challenged by artists seeking a more realistic approach, such as [[Gustave Courbet]]. He was also criticized by writers and critics like [[Émile Zola]] and [[Joris-Karl Huysmans]], who were more open to the modern artistic tendencies.
He gained more recognition with ''[[The Birth of Venus (Cabanel)|The Birth of Venus]]'', exhibited at the Salon of 1863, and which was immediately purchased by [[Napoleon III]] for his personal collection. The acclaimed painting entered the [[Luxembourg Museum]], in 1881, and is now held at the [[Musée d'Orsay]], in Paris. He signed a contract with the Goupil house for the marketing of engraved reproductions of this painting. There is a smaller replica, painted in 1875 for a banker, John Wolf, now at the [[Metropolitan Museum of Art]], in New York City. It was offered to the museum by Wolf in 1893. The classical composition embodies ideals of [[Academic art]]: a mythological subject, graceful modeling, silky brushwork, and perfected forms. This style was perennially popular with collectors, even as when it was challenged by artists seeking a more realistic approach, such as [[Gustave Courbet]]. He was also criticized by writers and critics like [[Émile Zola]] and [[Joris-Karl Huysmans]], who were more open to the modern artistic tendencies.


Cabanel was elected a member of the Academy of Fine Arts in the 10th chair, in 1863. He was appointed professor at the [[École des Beaux-Arts]] in 1864, where he taught until his death.<ref>{{cite book|last=van Hook|first=Bailey|title=Angels of Art: Women and Art in American Society, 1876-1914|year=1996|publisher=Pennsylvania State University Press|location=University Park, PA|page=28}}</ref> He was in the same year promoted to the rank of officer of the [[Legion of Honor]].  
==French Academy of Fine Arts==
 
Cabanel was elected a member of the Academy of Fine Arts in the 10th chair, in 1863. He was appointed professor at the [[École des Beaux-Arts]] in 1864, where he taught until his death.<ref>{{cite book|last=van Hook|first=Bailey|title=Angels of Art: Women and Art in American Society, 1876–1914|year=1996|publisher=Pennsylvania State University Press|page=28}}</ref> He was in the same year promoted to the rank of officer of the [[Legion of Honor]].  
Between 1868 and 1888, he was a member of the Salon jury seventeen times: "He was elected regularly to the Salon jury and his pupils could be counted by the hundred at the Salons. Through them, Cabanel did more than any other artist of his generation to form the character of the ''belle époque'' French painting".<ref>''Dictionary of Art'' (1996) vol. 5, pp. 341–344</ref> His refusal together with [[William-Adolphe Bouguereau]] to allow the [[impressionism|impressionist]] painter [[Édouard Manet]], and other painters, to exhibit their work in the Salon of 1863 led to the establishment of the [[Salon des Refusés]] by the French government. Cabanel won the Great Medal of Honour at the Salons of 1865, 1867, and 1878.
 
However, he intervened in 1881 during the presentation of ''Pertuiset, Le chasseur de lions'', by Manet, and defended it by saying: "Gentlemen, there is not one among us who is capable of doing a head like that in the open air!"


At the Universal Exhibition of 1867, he was awarded the Knight's Cross of the First Class of the Order of Merit of Saint Michael of Bavaria, following his ''Paradise Lost'', commissioned for the Maximilianeum, in [[Munich]], by [[Ludwig II of Bavaria]].
Between 1868 and 1888, he was a member of the Salon jury seventeen times: "He was elected regularly to the Salon jury and his pupils could be counted by the hundred at the Salons. Through them, Cabanel did more than any other artist of his generation to form the character of the ''belle époque'' French painting".<ref>''Dictionary of Art'' (1996) vol. 5, pp. 341-344</ref> His refusal together with [[William-Adolphe Bouguereau]] to allow the [[impressionism|impressionist]] painter [[Édouard Manet]], and other painters, to exhibit their work in the Salon of 1863 led to the establishment of the [[Salon des Refusés]] by the French government. Cabanel won the Great Medal of Honour at the Salons of 1865, 1867, and 1878.


He was promoted to the rank of Commander of the Legion of Honor in 1884, and was elected associate of the Royal Academy of Belgium on 6 January 1887.
The Salon jury was not liberal, they accepted and promoted only academic-style paintings with the intention of securing this art in the memory of the public for eternity.<ref>{{cite book|author1=John Nici|title=Famous Works of Art And How They Got That Way|year=2015|publisher=Bloomsbury Publishing|isbn=9798765168752|page=153}}</ref> Cabanel intervened in 1881 during the presentation of ''Pertuiset, Le chasseur de lions'', by [[Édouard Manet]], and defended it by saying: "Gentlemen, there is not one among us who is capable of doing a head like that in the open air!". At the [[Exposition Universelle (1867)|Universal Exhibition of 1867]], Cabanel was awarded the Knight's Cross of the First Class of the Order of Merit of Saint Michael of Bavaria, following his ''Paradise Lost'', commissioned for the Maximilianeum, in [[Munich]], by [[Ludwig II of Bavaria]]. He was promoted to the rank of Commander of the Legion of Honor in 1884, and was elected associate of the Royal Academy of Belgium on 6 January 1887.


He died on 24 January 1889, in his hotel at 14 rue Alfred de Vigny, in the 8th arrondissement of Paris. His funeral took place in [[Paris]], on 26 January 1889, in the Saint-Philippe du Roule church, then his body was transported to [[Montpellier]], where it was buried in the Saint-Lazare on 28 January 1889. A monument was erected to him in 1892 by the architect Jean Camille Formigé, decorated with a marble bust by Paul Dubois and a sculpture, ''Regret'', by [[Antonin Mercié]].
He died on 24 January 1889, in his hotel at 14 rue Alfred de Vigny, in the 8th arrondissement of Paris. His funeral took place in [[Paris]], on 26 January 1889, in the Saint-Philippe du Roule church, then his body was transported to [[Montpellier]], where it was buried in the Saint-Lazare on 28 January 1889. A monument was erected to him in 1892 by the architect Jean Camille Formigé, decorated with a marble bust by Paul Dubois and a sculpture, ''Regret'', by [[Antonin Mercié]].
Line 96: Line 96:
* [[Solomon Joseph Solomon]]
* [[Solomon Joseph Solomon]]
* [[Paul Tavernier]]
* [[Paul Tavernier]]
* [[José Ferraz de Almeida Júnior]]
* [[Almeida Júnior]]
* [[Étienne Terrus]]
* [[Étienne Terrus]]
* [[Adolphe Willette]]
* [[Adolphe Willette]]
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[[File:Alexandre Cabanel - The Birth of Venus - Google Art Project 2.jpg|thumb|300px|''[[The Birth of Venus (Cabanel)|The Birth of Venus]]'' (1863)]]
[[File:Alexandre Cabanel - The Birth of Venus - Google Art Project 2.jpg|thumb|300px|''[[The Birth of Venus (Cabanel)|The Birth of Venus]]'' (1863)]]
* [[The Fallen Angel (painting)|''The Fallen Angel'']] (''L'ange déchu'', 1847), [[Musée Fabre]], [[Montpellier]]
* [[The Fallen Angel (painting)|''The Fallen Angel'']] (''L'ange déchu'', 1847), [[Musée Fabre]], [[Montpellier]]
* ''Aglaé and [[Boniface of Tarsus|Boniface]]'' (''Aglaé et Boniface'', 1857), The Cleveland Museum of Art, Cleveland, Ohio USA
* ''Aglaé and [[Boniface of Tarsus|Boniface]]'' (''Aglaé et Boniface'', 1857), The Cleveland Museum of Art, Cleveland, Ohio US
* ''[[The Birth of Venus (Cabanel)|The Birth of Venus]]'' (''La naissance de Vénus'', 1863), [[Musée d'Orsay]], [[Paris]]
* ''[[The Birth of Venus (Cabanel)|The Birth of Venus]]'' (''La naissance de Vénus'', 1863), [[Musée d'Orsay]], [[Paris]]
* ''Napoleon III'' (1865), Musée national du château de Compiègne, Écouen, France
* ''Napoleon III'' (1865), Musée national du château de Compiègne, Écouen, France
Line 118: Line 118:
<gallery>
<gallery>
File:Alexandre Cabanel - Fallen Angel.jpg|[[The Fallen Angel (painting)|''The Fallen Angel'']] (1847)
File:Alexandre Cabanel - Fallen Angel.jpg|[[The Fallen Angel (painting)|''The Fallen Angel'']] (1847)
File:Alexandre Cabanel - Albayde.jpg|''Albaydé'' (1848)
File:Alexandre Cabanel - Albayde.jpg|''[[Albaydé]]'' (1848)
File:Alexandre Cabanel - Death of Moses.jpeg|''The Death of Moses'' (1850)
File:Alexandre Cabanel - Death of Moses.jpeg|''The Death of Moses'' (1850)
File:Alexandre Cabanel - The Glorification of St. Louis.jpg|''[[The Glorification of Saint Louis]]'' (1853)
File:Nymphe et Saty (Alexandre Cabanel) 1860.JPG|''[[Nymph and Satyr (Cabanel)|Nymph and Satyr]]'' (1860)
File:Nymphe et Saty (Alexandre Cabanel) 1860.JPG|''[[Nymph and Satyr (Cabanel)|Nymph and Satyr]]'' (1860)
File:Alexandre Cabanel 002.jpg|''[[Portrait of Napoleon III (Cabanel)|Portrait of Napoleon III]]'' (c. 1865)
File:Alexandre Cabanel 002.jpg|''[[Portrait of Napoleon III (Cabanel)|Portrait of Napoleon III]]'' (c. 1865)
Line 135: Line 136:
File:Alexandre Cabanel - Cléopatre essayant des poisons sur des condamnés à mort.jpg|''[[Cleopatra Testing Poisons on Condemned Prisoners]]'' (1887)
File:Alexandre Cabanel - Cléopatre essayant des poisons sur des condamnés à mort.jpg|''[[Cleopatra Testing Poisons on Condemned Prisoners]]'' (1887)
File:Alexandre Cabanel - The Mocking of Christ.jpg|''The [[Mocking of Jesus|Mocking]] of [[Jesus|Christ]]'' (1845)
File:Alexandre Cabanel - The Mocking of Christ.jpg|''The [[Mocking of Jesus|Mocking]] of [[Jesus|Christ]]'' (1845)
File:Alexandre Cabanel - The Glorification of St. Louis.jpg|''The Glorification of St. Louis'' (1853-1855)
File:Cabanel, Alexandre - Le Titan - 233 - Maison de Victor Hugo.jpg|''Le Titan'' (1884)
File:Cabanel, Alexandre - Le Titan - 233 - Maison de Victor Hugo.jpg|''Le Titan'' (1884)
</gallery>
</gallery>

Latest revision as of 12:55, 23 November 2025

Template:Short description Template:Use dmy datesScript error: No such module "Unsubst". Script error: No such module "Template wrapper".Script error: No such module "Check for clobbered parameters".

Alexandre Cabanel (Script error: No such module "IPA".; 28 September 1823 – 23 January 1889) was a French painter. He painted historical, classical and religious subjects in the academic style.[1] He was also well known as a portrait painter. He was Napoleon III's preferred painter[2] and, with Gérôme and Meissonier, was one of "the three most successful artists of the Second Empire."[3]

Career

Cabanel was the son of a modest carpenter, and he began his apprenticeship at the Montpellier School of Fine Arts in the class of Charles Matet, curator of the Musée Fabre. Equipped with a scholarship, he moved to Paris in 1839.

Cabanel entered the École des Beaux-Arts in Paris at the age of seventeen, in 1840, where he studied with François-Édouard Picot.

After two failures, with the paintings Cincinnatus receiving the ambassadors of Rome, in 1843, and Christ in the Garden of Olives, in 1844, he won the Prix de Rome scholarship, in 1845 at the age of 22.[4] He would be a resident of the Villa Medici until 1850.

Cabanel was both a history painter and a genre painter, and he evolved over the years towards romantic themes, like Albaydé (1848), inspired by Les Orientales, by Victor Hugo (1829).

He received the insignia of knight of the Legion of Honor, in 1855.

Also in 1855, he married Marie-Clémentine Legrand, with whom he had three children. Legrand and two of the children died in 1867. He remarried in 1869, but his second wife also died just four years later.[5]

He gained more recognition with The Birth of Venus, exhibited at the Salon of 1863, and which was immediately purchased by Napoleon III for his personal collection. The acclaimed painting entered the Luxembourg Museum, in 1881, and is now held at the Musée d'Orsay, in Paris. He signed a contract with the Goupil house for the marketing of engraved reproductions of this painting. There is a smaller replica, painted in 1875 for a banker, John Wolf, now at the Metropolitan Museum of Art, in New York City. It was offered to the museum by Wolf in 1893. The classical composition embodies ideals of Academic art: a mythological subject, graceful modeling, silky brushwork, and perfected forms. This style was perennially popular with collectors, even as when it was challenged by artists seeking a more realistic approach, such as Gustave Courbet. He was also criticized by writers and critics like Émile Zola and Joris-Karl Huysmans, who were more open to the modern artistic tendencies.

French Academy of Fine Arts

Cabanel was elected a member of the Academy of Fine Arts in the 10th chair, in 1863. He was appointed professor at the École des Beaux-Arts in 1864, where he taught until his death.[6] He was in the same year promoted to the rank of officer of the Legion of Honor.

Between 1868 and 1888, he was a member of the Salon jury seventeen times: "He was elected regularly to the Salon jury and his pupils could be counted by the hundred at the Salons. Through them, Cabanel did more than any other artist of his generation to form the character of the belle époque French painting".[7] His refusal together with William-Adolphe Bouguereau to allow the impressionist painter Édouard Manet, and other painters, to exhibit their work in the Salon of 1863 led to the establishment of the Salon des Refusés by the French government. Cabanel won the Great Medal of Honour at the Salons of 1865, 1867, and 1878.

The Salon jury was not liberal, they accepted and promoted only academic-style paintings with the intention of securing this art in the memory of the public for eternity.[8] Cabanel intervened in 1881 during the presentation of Pertuiset, Le chasseur de lions, by Édouard Manet, and defended it by saying: "Gentlemen, there is not one among us who is capable of doing a head like that in the open air!". At the Universal Exhibition of 1867, Cabanel was awarded the Knight's Cross of the First Class of the Order of Merit of Saint Michael of Bavaria, following his Paradise Lost, commissioned for the Maximilianeum, in Munich, by Ludwig II of Bavaria. He was promoted to the rank of Commander of the Legion of Honor in 1884, and was elected associate of the Royal Academy of Belgium on 6 January 1887.

He died on 24 January 1889, in his hotel at 14 rue Alfred de Vigny, in the 8th arrondissement of Paris. His funeral took place in Paris, on 26 January 1889, in the Saint-Philippe du Roule church, then his body was transported to Montpellier, where it was buried in the Saint-Lazare on 28 January 1889. A monument was erected to him in 1892 by the architect Jean Camille Formigé, decorated with a marble bust by Paul Dubois and a sculpture, Regret, by Antonin Mercié.

Pupils

File:Alexandre Cabanel - Self Portrait (1847).jpg
Portrait of Victor Massé (1847).
File:Alexandre Cabanel BNF Gallica.jpg
Alexandre Cabanel, c. Template:TrimScript error: No such module "Check for unknown parameters".. Photograph by Charles Reutlinger (?).
File:L atelier de Cabanel a l ecole des Beaux Arts.jpg
Cabanel's workshop at the School of Fine Arts., 1883, painting by Tancrède Bastet, Museum of Grenoble.

His pupils included:

Selected works

File:Alexandre Cabanel - The Birth of Venus - Google Art Project 2.jpg
The Birth of Venus (1863)

Gallery

References

<templatestyles src="Reflist/styles.css" />

  1. ↑ Template:Cite thesis
  2. ↑ Diccionario Enciclopedico Salvat, Barcelona, 1982.
  3. ↑ Wright, Barbara. Eugéne Fromentin: A Life in Art and Letters, Bern: Peter Lang, 2000, p. 432.
  4. ↑ Script error: No such module "citation/CS1".
  5. ↑ Script error: No such module "citation/CS1".
  6. ↑ Script error: No such module "citation/CS1".
  7. ↑ Dictionary of Art (1996) vol. 5, pp. 341-344
  8. ↑ Script error: No such module "citation/CS1".

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External links

Template:Sister project

Template:Alexandre Cabanel Template:Authority control (arts)

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