William-Adolphe Bouguereau – “The Abduction of Psyche”

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Յուղաներկ Կտավի վրա 30x40cm.

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Oil on Canvas 30x40cm.

 

William-Adolphe Bouguereau was born in La Rochelle, France on November 30, 1825, into a family of wine and olive oil merchants. He seemed destined to join the family business but for the intervention of his uncle Eugène, a Roman Catholic priest, who taught him classical and Biblical subjects, and arranged for Bouguereau to go to high school. Bouguereau showed artistic talent early on and his father was convinced by a client to send him to the École des Beaux-Arts in Bordeaux, where he won first prize in figure painting for a depiction of Saint Roch. To earn extra money, he designed labels for jams and preserves.[1]

Through his uncle, Bouguereau was given a commission to paint portraits of parishioners, and when his aunt matched the sum he earned, Bouguereau went to Paris and became a student at the École des Beaux-Arts.[2] To supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of François-Edouard Picot, where he studied painting in the academic style. Academic painting placed the highest status on historical and mythological subjects and Bouguereau won the coveted Prix de Rome in 1850, with his Zenobia Found by Shepherds on the Banks of the Araxes.[3] His reward was a stay at the Villa Medici in Rome, Italy, where in addition to formal lessons he was able to study first-hand the Renaissance artists and their masterpieces.

Bouguereau, painting entirely within the traditional Academic style, exhibited at the annual exhibitions of the Paris Salon for his entire working life.

Detail from The Birth of Venus by Bouguereau (1879).

An early reviewer stated, “M. Bouguereau has a natural instinct and knowledge of contour. The eurythmie of the human body preoccupies him, and in recalling the happy results which, in this genre, the ancients and the artists of the sixteenth century arrived at, one can only congratulate M. Bouguereau in attempting to follow in their footsteps…Raphael was inspired by the ancients…and no one accused him of not being original.”[4]

Raphael was a favorite of Bouguereau and he took this review as a high compliment. He had fulfilled one of the requirements of the Prix de Rome by completing an old-master copy of Raphael’s The Triumph of Galatea. In many of his works, he followed the same classical approach to composition, form, and subject matter.[5] Bouguereau’s graceful portraits of women were considered very charming, partly because he could beautify a sitter while also retaining her likeness.

In 1856, he married Marie-Nelly Monchablon and subsequently had five children. By the late 1850s, he had made strong connections with art dealers, particularly Paul Durand-Ruel (later the champion of the Impressionists), who helped clients buy paintings from artists who exhibited at the Salons.[6]Thanks to Paul Durand-Ruel, Bouguereau met Hugues Merle, who later often was compared to Bouguereau. The Salons annually drew over 300,000 people, providing valuable exposure to exhibited artists.[7] Bouguereau’s fame extended to England by the 1860s, and he bought a large house and studio in Montparnasse with his growing income.[8]

Bouguereau was a staunch traditionalist whose realistic genre paintings and mythological themes were modern interpretations of Classical subjects—both pagan and Christian—with a heavy concentration on the female human body. The idealized world of his paintings, and his almost photo-realistic style, brought to life goddesses, nymphs, bathers, shepherdesses, and madonnas in a way that appealed to wealthy art patrons of the era. Some critics, however, preferredJean-François Millet’s less-idealized depictions of hard-working farmers and laborers.

Bouguereau employed traditional methods of working up a painting, including detailed pencil studies and oil sketches, and his careful method resulted in a pleasing and accurate rendering of the human form. His painting of skin, hands, and feet was particularly admired.[9] He also used some of the religious and erotic symbolism of the Old Masters, such as the “broken pitcher” which connoted lost innocence.[10]

The Wave (1896)

Bouguereau received many commissions to decorate private houses, public buildings, and churches. As was typical of such commissions, Bouguereau would sometimes paint in his own style, and at other times conform to an existing group style. Early on, Bouguereau was commissioned in all three venues, which added enormously to his prestige and fame. He also made reductions of his public paintings for sale to patrons, of which The Annunciation (1888) is an example.[11] He was also a successful portrait painter and many of his paintings of wealthy patrons remain in private hands.[12]

Bouguereau steadily gained the honors of the Academy, reaching Life Member in 1876, and Commander of the Legion of Honor and Grand Medal of Honor in 1885.[13] He began to teach drawing at the Académie Julian in 1875, a co-ed art institution independent of the École des Beaux-Arts, with no entrance exams and with nominal fees.[14]

In 1877, both his wife and infant son died. At a rather advanced age, Bouguereau was married for the second time in 1896, to fellow artist Elizabeth Jane Gardner Bouguereau, one of his pupils.[15] He used his influence to open many French art institutions to women for the first time, including the Académie française.

Near the end of his life he described his love of his art: “Each day I go to my studio full of joy; in the evening when obliged to stop because of darkness I can scarcely wait for the next morning to come…if I cannot give myself to my dear painting I am miserable”.[16] He painted eight hundred and twenty-six paintings.

In the spring of 1905, Bouguereau’s house and studio in Paris were robbed. On August 19, 1905, Bouguereau died in La Rochelle at the age of 79 from heart disease.

 

 

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