1-2 of 2 Results  for:

  • Nineteenth-Century Art x
  • Eighteenth-Century Art x
  • Sculpture and Carving x
  • Performance Art and Dance x
  • Painting and Drawing x
Clear all

Article

French, 18th – 19th century, male.

Born 1749, in Versailles; died 1825, in Paris.

Painter (including gouache), watercolourist, sculptor, draughtsman (wash), engraver, decorative artist. Mythological subjects, allegorical subjects, historical portraits, hunting scenes, interiors with figures, gardens. Stage costumes and sets, furniture, designs for fabrics, frontispieces.

Dugourc's father, who was in the service of the Duke of Orléans, had a considerable fortune. Dugourc was permitted to attend the lessons taken by the Duke of Chartres (the future Philippe-Égalité), and at the age 15 left for Rome, attached to the embassy of the Count of Cani. From his infancy, he had shown an aptitude for drawing, perspective and architecture. However, the death of his mother, followed shortly after by the loss of his father's fortune, changed his life. From being an amateur, Dugourc became a professional artist, and executed paintings, sculptures and engravings. In a work published in ...

Article

Philip Ward-Jackson

[Jean-Jacques]

(b Geneva, May 23, 1790; d Bougival, June 4, 1852).

Swiss sculptor, painter and composer. Prompted by his early displays of artistic talent, Pradier’s parents placed him in the workshop of a jeweller, where he learnt engraving on metal. He attended drawing classes in Geneva, before leaving for Paris in 1807. By 1811 he was registered at the Ecole des Beaux-Arts and subsequently entered its sculpture competitions as a pupil of François-Frédéric, Baron Lemot. A more significant contribution to his artistic formation around this time was the guidance of the painter François Gérard. Pradier won the Prix de Rome in 1813 and was resident at the French Academy in Rome, from 1814 until 1819. On his return to France, he showed at the Salon of 1819 a group Centaur and Bacchante (untraced) and a reclining Bacchante (marble; Rouen, Mus. B.-A.). The latter, borrowing an erotically significant torsion from the Antique Callipygean Venus, opens the series of sensuous Classical female subjects that were to become Pradier’s forte. In ...