400:
414:
232:
171:
428:
295:
601:
31:
255:
in 1849. Yet he worked steadily and was productive. He had an "infinite capacity of taking pains", and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, "En y pensant toujours". Many years often intervened between the first conception of a piece and
185:
to accompany him on his journeys round the eastern
Mediterranean, recording the scenes and ethnographic subjects they met with. They left Italy in spring 1834 and visited Greece, Turkey and Egypt, where they remained together until November 1835, when Lowell left for India. Gleyre continued his
246:
In spite of the success of these first ventures, Gleyre retired from public competition, and spent the rest of his life in quiet devotion to his artistic ideals, neither seeking the easy applause of the crowd, nor turning his art into a means of aggrandizement and wealth. After 1845, when he
309:, his studio had been the rendezvous of a sort of liberal club. To the last—amid all the disasters that befell his country—he was hopeful of the future, "la raison finira bien par avoir raison". It was while on a visit to the Retrospective Exhibition, opened on behalf of the exiles from
256:
its embodiment, and years not infrequently between the first and the final stage of the embodiment itself. A landscape was apparently finished; even his fellow artists would consider it done; Gleyre alone was conscious that he had not "found his sky".
197:
On his recovery he proceeded to Paris and, establishing a modest studio in the rue de
Université, began carefully to work out the ideas which had been slowly shaping themselves in his mind. Mention is made of two decorative panels
344:, in which the artist has ventured to add to the parable the new element of mother's love, greeting the repentant youth with a welcome that shows that the mother's heart thinks less of the repentance than of the return;
336:, which represents two angels speeding above the desolate earth from which the destroying waters have just begun to retire, leaving visible behind them the ruin they have wrought; the
291:. He did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school.
206:
as almost the first fruits of his genius; but these did not attract public attention until much later, and the painting by which he practically opened his artistic career was the
616:
340:, a piece of elaborate design, crowded but not encumbered with figures, and giving fine expression to the movements of the various bands of combatants and fugitives; the
305:
Though he lived in almost complete retirement from public life, he took a keen interest in politics, and was a voracious reader of political journals. For a time, under
228:
slip from a careless hand, and gazing sadly at a bright company of maidens whose song slowly fades from his ear as their boat is borne slowly from his sight.
621:
580:
721:
399:
112:
701:
696:
186:
travels around Egypt and Syria, not returning to France until 1838. He returned to Lyons in shattered health, having been attacked with
473:
413:
716:
479:
182:
380:. He also left a considerable number of drawings and watercolours, and a number of portraits, among which is the sad face of
454:
498:
95:(2 May 1806 – 5 May 1874), was a Swiss artist who was a resident in France from an early age. He took over the studio of
706:
239:
427:
472:
220:
264:
306:
156:
224:. It depicts a poet seated on the bank of a river, with his head drooping and a wearied posture, letting his
143:, France, who sent him to the city's industrial school. He began his formal artistic education in Lyon under
574:
321:
231:
170:
164:
139:, near Lausanne. His parents died when he was eight or nine years old, and he was brought up by an uncle in
388:
for April 1852. In
Clement's catalogue of his works there are 683 entries, including sketches and studies.
328:
standing in the sublime and joyous landscape of a paradise enclosed in mountains", a worthy counterpart to
124:
288:
711:
280:
144:
136:
108:
58:
691:
686:
36:
99:
in 1843 and taught a number of younger artists who became prominent, including Henry-Lionel Brioux,
218:, which received a medal of the second class, and afterwards became widely popular under the title
272:
120:
152:
653:(1877), written by his friend, Charles Clement, and illustrated by 30 plates from his works in
100:
268:
310:
381:
263:– then the leading private teaching atelier in Paris – in 1843. His students included
260:
96:
30:
680:
654:
612:
607:
569:
468:
284:
181:
It was through Vernet's recommendation that he was chosen by the
American traveller
160:
148:
116:
573:
325:
276:
104:
294:
455:"Dictionnaire général des artistes de l'école française, continué par L. Auvray"
211:
671:
187:
147:, before moving to Paris, where he enrolled at the École des Beaux-Arts under
625:. Vol. 12 (11th ed.). Cambridge University Press. pp. 121–122.
584:. Vol. 12 (11th ed.). Cambridge University Press. pp. 121–122.
191:
658:
535:
The
Orientalists: European painters in North Africa and the Near East
190:, or inflammation of the eye, in Cairo, and struck down by fever in
537:(Exhibition Catalogue). Royal Academy of Arts. pp. 150, 178–9.
606:
This article incorporates text from a publication now in the
259:
Gleyre became influential as a teacher, taking over the studio of
230:
225:
140:
657:'s studio, in the Académie Suisse, and in the galleries of the
324:
described as "a dream of innocence, of happiness and of beauty—
313:, that he died suddenly on 5 May 1874. He had never married.
159:. He then went to Italy, where he became acquainted with
155:and studied watercolour technique in the studio of
82:
66:
44:
21:
251:, he contributed nothing to the Salon except the
474:"Du Maurier, George Louis Palmella Busson"
645:Dict. biographique des Genevois et des Vaudois
275:, Whistler and several of the Impressionists:
8:
503:The Correspondence of James McNeill Whistler
493:
491:
29:
18:
564:
562:
560:
558:
556:
554:
552:
550:
548:
546:
544:
528:
526:
524:
522:
520:
499:"Marc-Charles-Gabriel Gleyre, 1806-1874"
293:
169:
446:
395:
214:of 1840. This was followed in 1843 by
301:, 1867 (Cantonal Museum of Fine Arts)
7:
575:"Gleyre, Marc Charles Gabriel"
638:Bibliothèque universelle de Geneve
14:
599:
533:Stevens, Mary Anne, ed. (1984).
484:. Vol. 2. pp. 161–166.
480:Dictionary of National Biography
426:
412:
398:
722:19th-century Swiss male artists
360:or, as it is popularly called,
354:Hercules at the Feet of Omphale
1:
208:Apocalyptic Vision of St John
177:, 1843 (collection not known)
113:Louis-Frédéric Schützenberger
672:Gleyre at Art Renewal Center
617:Gleyre, Marc Charles Gabriel
240:Cantonal Museum of Fine Arts
702:19th-century Swiss painters
697:People from Morges District
332:. His other works include
93:Marc Gabriel Charles Gleyre
738:
249:Separation of the Apostles
28:
157:Richard Parkes Bonington
717:Swiss portrait painters
622:Encyclopædia Britannica
581:Encyclopædia Britannica
505:. University of Glasgow
316:He left unfinished the
253:La Dance des bacchantes
236:La Danse des bacchantes
151:. He also attended the
366:Minerva and the Nymphs
302:
243:
200:Diana leaving the Bath
178:
125:James McNeill Whistler
35:Self-portrait , 1841 (
651:Vie de Charles Gleyre
386:Revue des deux mondes
338:Battle of the Lemanus
297:
234:
173:
109:Pierre-Auguste Renoir
434:Ulysses and Nausicaa
392:Other selected works
350:Ulysses and Nausicaa
320:, a picture, which
165:Louis LĂ©opold Robert
37:Palace of Versailles
707:Swiss male painters
378:Love and the Parcae
311:Alsace and Lorraine
135:Gleyre was born in
643:Albert de Montet,
636:Fritz Berthoud in
384:, engraved in the
303:
273:Auguste Toulmouche
244:
179:
175:Cléonis et Cydippe
121:Auguste Toulmouche
374:Daphnis and Chloë
101:George du Maurier
90:
89:
729:
626:
605:
603:
602:
586:
585:
577:
566:
539:
538:
530:
515:
514:
512:
510:
495:
486:
485:
482:(1st supplement)
476:
465:
459:
458:
451:
430:
416:
402:
370:Venus and Adonis
318:Earthly Paradise
269:Jean-Louis Hamon
265:Jean-LĂ©on GĂ©rĂ´me
73:
54:
52:
33:
19:
737:
736:
732:
731:
730:
728:
727:
726:
677:
676:
668:
633:
615:, ed. (1911). "
611:
600:
598:
595:
590:
589:
568:
567:
542:
532:
531:
518:
508:
506:
497:
496:
489:
467:
466:
462:
453:
452:
448:
443:
436:
431:
422:
420:Egyptian Temple
417:
408:
403:
394:
358:Young Athenian,
183:John Lowell Jr.
153:Académie Suisse
133:
78:
75:
71:
62:
56:
50:
48:
40:
24:
17:
12:
11:
5:
735:
733:
725:
724:
719:
714:
709:
704:
699:
694:
689:
679:
678:
675:
674:
667:
666:External links
664:
663:
662:
648:
641:
632:
629:
628:
627:
613:Chisholm, Hugh
594:
591:
588:
587:
572:, ed. (1911).
570:Chisholm, Hugh
540:
516:
487:
469:Ainger, Alfred
460:
445:
444:
442:
439:
438:
437:
432:
425:
423:
418:
411:
409:
406:Lost Illusions
404:
397:
393:
390:
382:Heinrich Heine
307:Louis Philippe
261:Paul Delaroche
247:exhibited the
221:Lost Illusions
210:, sent to the
132:
129:
97:Paul Delaroche
88:
87:
84:
83:Known for
80:
79:
76:
74:(aged 68)
68:
64:
63:
57:
46:
42:
41:
34:
26:
25:
23:Charles Gleyre
22:
15:
13:
10:
9:
6:
4:
3:
2:
734:
723:
720:
718:
715:
713:
710:
708:
705:
703:
700:
698:
695:
693:
690:
688:
685:
684:
682:
673:
670:
669:
665:
660:
656:
652:
649:
646:
642:
639:
635:
634:
630:
624:
623:
618:
614:
609:
608:public domain
597:
596:
592:
583:
582:
576:
571:
565:
563:
561:
559:
557:
555:
553:
551:
549:
547:
545:
541:
536:
529:
527:
525:
523:
521:
517:
504:
500:
494:
492:
488:
483:
481:
475:
470:
464:
461:
456:
450:
447:
440:
435:
429:
424:
421:
415:
410:
407:
401:
396:
391:
389:
387:
383:
379:
375:
371:
367:
363:
359:
355:
351:
347:
346:Ruth and Boaz
343:
339:
335:
331:
327:
323:
319:
314:
312:
308:
300:
296:
292:
290:
286:
282:
278:
274:
270:
266:
262:
257:
254:
250:
241:
237:
233:
229:
227:
223:
222:
217:
213:
209:
205:
201:
195:
193:
189:
184:
176:
172:
168:
166:
162:
161:Horace Vernet
158:
154:
150:
146:
142:
138:
130:
128:
126:
122:
118:
117:Alfred Sisley
114:
110:
106:
102:
98:
94:
85:
81:
77:Paris, France
69:
65:
61:, Switzerland
60:
47:
43:
38:
32:
27:
20:
712:Academic art
650:
644:
637:
620:
579:
534:
507:. Retrieved
502:
478:
463:
449:
433:
419:
405:
385:
377:
373:
369:
365:
361:
357:
353:
349:
345:
342:Prodigal Son
341:
337:
333:
329:
326:Adam and Eve
317:
315:
304:
298:
258:
252:
248:
245:
235:
219:
215:
207:
204:Young Nubian
203:
199:
196:
180:
174:
134:
105:Claude Monet
92:
91:
86:oil painting
72:(1874-05-05)
16:Swiss artist
692:1874 deaths
687:1806 births
681:Categories
593:References
188:ophthalmia
70:5 May 1874
55:2 May 1806
51:1806-05-02
145:Bonnefond
471:(1901).
238:, 1849 (
202:, and a
137:Chevilly
59:Chevilly
655:Hersent
647:(1877);
640:(1874);
631:Sources
610::
509:5 April
457:. 1885.
330:Evening
289:Bazille
216:Evening
192:Lebanon
149:Hersent
659:Louvre
604:
376:; and
362:Sappho
356:; the
334:Deluge
299:Sappho
287:, and
285:Sisley
281:Renoir
123:, and
441:Notes
322:Taine
277:Monet
212:Salon
511:2015
226:lyre
163:and
141:Lyon
131:Life
67:Died
45:Born
619:".
167:.
683::
578:.
543:^
519:^
501:.
490:^
477:.
372:;
368:;
364:;
352:;
348:;
283:,
279:,
271:,
267:,
194:.
127:.
119:,
115:,
111:,
107:,
103:,
661:.
513:.
242:)
53:)
49:(
39:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
