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452:, he found a compromise between the academic style and the new painterly innovations of the impressionists and the Nabis. Collin began to emphasize the picture surface by reducing the spatial depth of his paintings as well as composing with areas of concentrated color. Yet he never completely abandoned the hallmarks of academicism: allegory and naturalism.
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During the last few decades of the nineteenth century, academic painting in France was in crisis, eclipsed by the new artistic movements of impressionism and symbolism. Collin's friendship with members of the impressionists provided him with insights into the new direction contemporary painting was
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Around 1873 he began successfully exhibiting at the Salon. He won a number of prizes that helped launch his career, and before long he was receiving increasingly prestigious commissions to paint large scale murals in major public buildings around Paris, including some of the most prominent cultural
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modifications to the accepted academic style, introducing elements of the impressionist technique into his allegorical scenes. Such formal techniques as formal composition and bright color evoked the light filled landscapes of impressionism rather than the dark chiaroscuro of
Renaissance painting.
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Collin's early work closely followed the essential tenets of French academism. Like the
Renaissance painters they admired, the nineteenth-century academicians used historical, religious, or allegorical painting to communicate an idea. Within the parameters of this literary art, Collin made subtle
487:, where Collin was associated. Kuroda and Kume, who subsequently assumed professorships at the Tokyo Fine Arts School (Tokyo Bijutsu Gakkō), were especially instrumental in introducing to Japan Collin's academic teaching methods as well as the lighter palette, brushwork, and
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approach he espoused. This mentorship of the first generation of
Japanese oil painters contributed to the special respect he continues to enjoy in Japan.
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621:, 1877 (exhibited at the Musée des Beaux-Arts et de la Dentelle, Alençon)
371:; 17 June 1850 – 21 October 1916) was a French painter born and raised in
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Japan & Paris: Impressionism, Postimpressionism, and the
Moderne Era
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Collin figured prominently in artistic exchanges between Paris and
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taking. He adapted his work accordingly and in such paintings as
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Edition: Guth, Christine M.E., Volk, Alicia, Yamanashi, Emiko,
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The John G. Johnson
Collection: A History and Selected Works
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Collin studied at the school of Saint-Louis, then went to
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436:. He provided designs for decorative plates made by
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171:. Unsourced material may be challenged and removed.
483:, among others, studied in his studio and at the
98:but its sources remain unclear because it lacks
701:, Honolulu Academy of Arts, 15 September 2004;
522:Chevalier of the order of St Michael of Bavaria
601:The Light Song, decoration for the comic opera
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494:Collin also illustrated many books, notably
403:'s atelier where they both worked alongside
64:Learn how and when to remove these messages
742:by Louis-Joseph-Raphaël Collin (inv. 2956)
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839:Recipients of the Order of the Rising Sun
249:Learn how and when to remove this message
231:Learn how and when to remove this message
129:Learn how and when to remove this message
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513:1889 Grand Prix, Exposition Universelle
471:during the late nineteenth century as
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169:adding citations to reliable sources
586:Departure, lithographic print from
419:with a clear and luminous palette.
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673:Fin d’été & Jeunesse Sorbonne
45:This article has multiple issues.
844:19th-century French male artists
829:Officers of the Legion of Honour
824:20th-century French male artists
814:20th-century French illustrators
809:19th-century French illustrators
729:Works by or about Raphaël Collin
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625:Portrait of the artist’s father
156:needs additional citations for
53:or discuss these issues on the
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649:Petits portraits en plein air
368:[lwiʒozɛfʁafaɛlkɔlɛ̃]
819:20th-century French painters
789:19th-century French painters
391:where he was at school with
779:École des Beaux-Arts alumni
360:Louis-Joseph-Raphaël Collin
287:Louis-Joseph-Raphaël Collin
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573:Indianapolis Museum of Art
399:and then joined Lepage at
799:French Symbolist painters
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804:French portrait painters
84:This article includes a
737:Jennifer A. Thompson, “
717:Links with Japanese Art
526:Order of the Rising Sun
113:more precise citations.
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428:centers of Paris: the
631:Portrait of M S Hayem
554:Musée du Petit Palais
516:1894 Officier of the
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364:French pronunciation:
794:French male painters
679:Plafond pour l’Odéon
570:decorated by Collin,
568:Théodore Deck plate,
551:decorated by Collin,
393:Jules Bastien-Lepage
165:improve this article
834:Painters from Paris
619:Daphnis & Chloé
501:Chansons de Bilitis
637:Portrait of Mlle C
485:Académie Colarossi
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86:list of references
685:Au bord de la mer
588:L'Estampe Moderne
496:Daphnis and Chloé
413:Benjamin Constant
401:Alexandre Cabanel
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317:(1916-10-21)
297:17 June 1850
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163:Please help
158:verification
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769:1916 deaths
764:1850 births
498:(1890) and
450:Young Woman
334:Nationality
111:introducing
758:Categories
692:References
643:La Musique
409:Aimé Morot
397:Bouguereau
383:Early life
293:1850-06-17
191:newspapers
50:improve it
489:plein air
221:June 2015
119:June 2015
56:talk page
712:Obituary
528:of Japan
504:(1906).
377:ceramics
352:Ceramics
348:Painting
740:Morning
731:at the
667:Floréal
556:, Paris
533:Gallery
508:Honours
323:Brionne
205:scholar
107:improve
744:,” in
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687:, 1892
681:, 1891
675:, 1889
669:, 1886
663:, 1884
657:, 1882
655:Idylle
651:, 1881
645:, 1880
639:, 1880
633:, 1879
627:, 1887
615:, 1875
613:Idylle
549:plate,
479:, and
423:Career
389:Verdun
338:French
327:France
305:France
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469:Tokyo
373:Paris
301:Paris
212:JSTOR
198:books
92:, or
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411:and
312:Died
283:Born
184:news
661:Été
167:by
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