All VERNET, Claude-Joseph Oil Paintings

French Painter, 1714-1789 Painter. Vernet probably received his first lessons in painting from his father, Antoine, who then encouraged him to move to the studio of Philippe Sauvan (1697-1792), the leading master in Avignon. Sauvan supplied altarpieces to local churches and decorative works and mythologies for grand houses in the area. After this apprenticeship Vernet worked in Aix-en-Provence with the decorative painter Jacques Viali ( fl 1681- 1745), who also painted landscapes and marine pictures. In 1731 Vernet independently produced a suite of decorative overdoors for the h?tel of the Marquise de Simiane at Aix-en-Provence; at least two of these survive (in situ) and are Vernet's earliest datable landscapes. These are early indications of his favoured type of subject, and Vernet would have studied works attributed to such 17th-century masters as Claude Lorrain, Gaspard Dughet and Salvator Rosa in private collections at Aix and Avignon. Three years later Joseph de Seytres, Marquis de Caumont, who had previously recommended Vernet to the Marquise de Simiane, offered to sponsor a trip to Italy.
 
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VERNET, Claude-Joseph Shipwreck oil on canvas


Shipwreck
Shipwreck
Painting ID::  51092 		  1759 Oil on canvas, 96 x 134,5 cm
  1759 Oil on canvas, 96 x 134,5 cm

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VERNET, Claude-Joseph The Artist's Studio oil on canvas


The Artist's Studio
The Artist's Studio
Painting ID::  62553 		  52 x 64 cm Private collection The picture shows the artist's as a crowded and social space, where work was more likely to be interrupted by loungers and visitors, fencing matches and dog fights, than by melancholy soul-searching. Yet in fact this is an image of frustration. The fall of Napoleon had left the once-fashionable Vernet bereft of subjects and patrons, and his political views had excluded him from the Paris Salon of 1821. He had been obliged to show in this very studio, including his picture of it as an ironic symbol of the impasse to which he had been brought. Author: VERNET, Horace Title: The Artist's Studio Form: painting , 1801-1850 , French , interior
  52 x 64 cm Private collection The picture shows the artist's as a crowded and social space, where work was more likely to be interrupted by loungers and visitors, fencing matches and dog fights, than by melancholy soul-searching. Yet in fact this is an image of frustration. The fall of Napoleon had left the once-fashionable Vernet bereft of subjects and patrons, and his political views had excluded him from the Paris Salon of 1821. He had been obliged to show in this very studio, including his picture of it as an ironic symbol of the impasse to which he had been brought. Author: VERNET, Horace Title: The Artist's Studio Form: painting , 1801-1850 , French , interior

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VERNET, Claude-Joseph Belisarius oil on canvas


Belisarius
Belisarius
Painting ID::  62554 		  1776 Oil on canvas, 98 x 129 cm Mus?e Fabre, Montpellier The theme of Belisarius was much in vogue from the 1770s, and in addition to Jacques-Louis David, rival artists of David's own generation, such as Pierre Peyron and Fran?ois-Andr?Vincent, had painted their own versions of the subject. Vincent's Belisarius is reduced to begging, and receives the charity from a soldier in Justinian's army. Here there is no sense of recognition, the blind former general is oblivious to the identity of his benefactor. Vincent also took the unorthodox step of creating a group of half-length figures, an unusual device in France at this time. Author: VINCENT, Fran?ois-Andr? Title: Belisarius Form: painting , 1751-1800 , French , historical
  1776 Oil on canvas, 98 x 129 cm Mus?e Fabre, Montpellier The theme of Belisarius was much in vogue from the 1770s, and in addition to Jacques-Louis David, rival artists of David's own generation, such as Pierre Peyron and Fran?ois-Andr?Vincent, had painted their own versions of the subject. Vincent's Belisarius is reduced to begging, and receives the charity from a soldier in Justinian's army. Here there is no sense of recognition, the blind former general is oblivious to the identity of his benefactor. Vincent also took the unorthodox step of creating a group of half-length figures, an unusual device in France at this time. Author: VINCENT, Fran?ois-Andr? Title: Belisarius Form: painting , 1751-1800 , French , historical

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VERNET, Claude-Joseph Storm with a Shipwreck oil on canvas


Storm with a Shipwreck
Storm with a Shipwreck
Painting ID::  77034 		  1754, Oil on canvas, 87 x 137 cm, Wallace Collection, London cyf
  1754, Oil on canvas, 87 x 137 cm, Wallace Collection, London cyf

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VERNET, Claude-Joseph La tour Apigne a Rennes oil on canvas


La tour Apigne a Rennes
La tour Apigne a Rennes
Painting ID::  97798 		  1836(1836) Medium oil on canvas Dimensions 31.5 x 38 cm cyf
  1836(1836) Medium oil on canvas Dimensions 31.5 x 38 cm cyf

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     VERNET, Claude-Joseph
     French Painter, 1714-1789 Painter. Vernet probably received his first lessons in painting from his father, Antoine, who then encouraged him to move to the studio of Philippe Sauvan (1697-1792), the leading master in Avignon. Sauvan supplied altarpieces to local churches and decorative works and mythologies for grand houses in the area. After this apprenticeship Vernet worked in Aix-en-Provence with the decorative painter Jacques Viali ( fl 1681- 1745), who also painted landscapes and marine pictures. In 1731 Vernet independently produced a suite of decorative overdoors for the h?tel of the Marquise de Simiane at Aix-en-Provence; at least two of these survive (in situ) and are Vernet's earliest datable landscapes. These are early indications of his favoured type of subject, and Vernet would have studied works attributed to such 17th-century masters as Claude Lorrain, Gaspard Dughet and Salvator Rosa in private collections at Aix and Avignon. Three years later Joseph de Seytres, Marquis de Caumont, who had previously recommended Vernet to the Marquise de Simiane, offered to sponsor a trip to Italy.

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