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Pascale Méker

(b Paris, July 25, 1781; d Paris, June 12, 1853).

French painter. After an apprenticeship at the Dihl et Guerhard porcelain factory in Paris, where he was taught by Etienne Leguay (1762–1846), Blondel moved to Jean-Baptiste Regnault’s atelier in 1802. He won the Prix de Rome in 1803 with Aeneas and Anchises (Paris, Ecole N. Sup. B.-A.) but did not go to Rome until 1809, when he stayed there for three years. After gaining a gold medal in the Salon of 1817 for the Death of Louis XII (Toulouse, Mus. Augustins), Blondel embarked on a wide-ranging and successful career as official decorative painter. In addition to the decoration of the Salon and of the Galerie de Diane at Fontainebleau (1822–8) and the ceiling of the Palais de la Bourse (Justice Protecting Commerce, sketch, 1825; Dijon, Mus. Magnin), he received commissions for several ceilings in the Louvre, of which the earliest and most remarkable is in the vestibule to the Galerie d’Apollon (...


(b Lyon, 1798; d Paris, June 16, 1838).

French painter, designer and interior decorator. Throughout his career he was an advocate of the importance of art and design for industry and manufacture. In 1830 he was appointed adviser to the Sèvres Porcelain Factory by the director Alexandre Brongniart (1770–1847). There Chenavard made cartoons for stained-glass windows, a stoneware ‘Vase de la Renaissance’ shown at the 1833 Sèvres exhibition and designs for the Duc d’Orléans (future King Louis-Philippe), such as a silver-gilt ewer made by M. Durant and shown at the 1834 Paris Exposition Universelle. Chenavard exhibited designs at the Paris Salons of 1827, 1831, 1833 and 1834, among them his Gothic-style designs, in collaboration with Achille Mascret, for the decoration of the chapel at the château of Eu, and his sketches for the restoration of the Théâtre Français and Opéra Comique in Paris. Material by Chenavard is preserved in the Musée National de Céramique at Sèvres and the ...


Valérie M. C. Bajou


(b Bordeaux, Aug 21, 1807; d Menton, Nov 18, 1876).

French painter. After the death of his Spanish parents he was taken in by a pastor living in Bellevue (nr Paris). In 1825 he started work as an apprentice colourist in Arsène Gillet’s porcelain factory, where he became friendly with Gillet’s nephew Jules Dupré and made the acquaintance of Auguste Raffet, Louis Cabat and Constant Troyon. At this time he executed his first oil paintings of flowers, still-lifes and landscapes. Around 1827 Diaz is thought to have taken lessons from the Lille artist François Souchon (1787–1857); perhaps more importantly, he copied works by Pierre-Paul Prud’hon and Correggio in the Louvre, Paris, and used their figures and subjects in such later paintings as Venus and Adonis and the Sleeping Nymph (both Paris, Mus. d’Orsay). He soon became the friend of Honoré Daumier, Théodore Rousseau and Paul Huet. Diaz’s pictures exhibited at the Salon from 1831 to 1844 derive from numerous sources, including mythology, as in ...


Marie-Claude Chaudonneret

(b Baccarat, Oct 31, 1763; d Epinal, Feb 11, 1832).

French painter. A pupil of Jean-François Durand (1731–after 1778) in Nancy and later of the miniature painter J.-B. Augustin in Paris (c. 1785–6), he began his career as a porcelain and miniature painter. In the latter capacity he exhibited in the Salon between 1791 and 1800, after which he gave up miniatures in favour of small genre paintings, which he exhibited regularly until 1831. In 1806 he received a Prix d’Encouragement and in 1808 a first-class medal. In 1804, when he showed Woman Playing the Lute (acquired by the Empress Josephine; now Arenenberg, Napoleonmus.), he was hailed by Vivant Denon as a painter of ‘very delicate and very distinguished talent’ and as worthy of comparison with Gerrit Dou, Willem van Mieris and Gerard ter Borch (ii) (Paris, Archv. N., AF. IV 1050). He was highly regarded by Josephine, who bought six paintings from him between 1804 and ...