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American patrons 144 paintings, nearly a quarter of his production. Despite his prodigious output and enormous transatlantic success, most scholarly articles of recent decades cite Gérôme's work as a noxious blend of the trite, the exploitative and the stultifying academic. However, the latest scholarship is re-evaluating Gérôme and his importance in the nineteenth century. A 2010 essay by art historian Mary G. Morton...points out that, contrary to most twenty- and twenty-first century perspectives...Americans found Gérôme's paintings complex, edifying and completely modern.
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761:. Places in Gérôme's atelier were limited, keenly sought and highly competitive. Only the best students were admitted and aspirants considered it an honour to be selected. Gérôme progressed his students through drawing from antique works, casts and followed by life study with live models generally selected on the basis of their physique, but occasionally for their facial expression in a sequence of exercises known as the
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no longer walk, we run like crazy; if we are not crushed during the day, we have a good chance of being murdered at night. It is charming. We have witnessed the end of a world, we are witnessing the dawn of a new one, which lacks the picturesque and above all serenity. The day is not far off when, through our customs, our ways of being, our love of the dollar (
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floor sloped so that students had the fullest view of the model from the rear of the room. Students sat around any model in order of seniority, with the more senior students towards the rear so that they could draw the full figure, while the more junior members sat towards the front and concentrated on the bust or other part of the anatomy.
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marches under the bright sun, as soon as our camping spot was reached I got down to work with concentration. But Oh! How many things were left behind of which I carried only the memory away! And I prefer three touches of color on a piece of canvas to the most vivid memory, but one had to continue on with some regret."
1480:("Truth is at the Museum"), which collected numerous drawings, sketches, and variants made by Gérôme, and by other artists, relating to the painting and its theme. The multiple interpretations of the painting's enigmatic meaning prompted one of the museum's curators to say, "C'est notre Joconde à nous." ("This is our
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La photographie est un art. La photographie force les artistes à se dépouiller de la vieille routine et à oublier les vieilles formules. Elle nous a ouvert les yeux et forcé à regarder ce qu'auparavant nous n'avions jamais vu, service considérable et inappréciable qu'elle a rendu à l'Art. C'est grâce
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cannot remain still before such a scandal...How can the government dare welcome such a collection of inanities into a museum? Why, have you seen the collection? The state, the ward of such junk!... What lessons are our young artists going to receive from now on? They'll all start to do
Impressionism!
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was exhibited at the Salon of 1868. On behalf of Ney's descendants, Gérôme was asked to withdraw the painting, but did not comply. The general reception was very split and the 1868 Salon marked the beginning of a lasting divide between Gérôme and many French art critics, who accused him of relying on
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In his travels, Gérôme collected artefacts and costumes for staging oriental scenes in the studio, and also made oil studies from nature for the backgrounds. In an autobiographical essay of 1878, Gérôme described how important oil sketches made on the spot were for him: "Even when worn out after long
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At that time, Paris had nothing to do with the Paris of today: no railways, no bicycles, no cars; we were less agitated, and certain districts, among others the one we lived in and which we called the Latin
Quarter, had a provincial aspect in their calm and tranquility. Now everything is changed; we
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Photography is an art. It forces artists to discard their old routine and forget their old formulas. It has opened our eyes and forced us to see that which previously we have not seen; a great and inexpressible service for Art. It is thanks to photography that Truth has finally come out of her well.
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According to John Milner, who studied with Gérôme, his atelier was the most "riotous" and "lewd" of all the studios at Beaux-Arts. Students were treated to bizarre initiation rites which included slashing each other's canvases, throwing students down stairs, out of windows, and onto upturned stools,
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Students drew parts of a bust before the entire bust, then parts of the live model before preparing full figures. Only when they had mastered sketching were they permitted to work in oils. They were also taught to draw clearly and correctly before consideration of tonal qualities. In his school, the
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His ethnographic imagery of Arab and
Islamic culture, controversial in his own lifetime, is now even more closely scrutinized, as is his penchant for female nudity; modern critics raise issues of "cultural appropriation" and "sexual exploitation". These issues of sex and race were epitomized by the
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In the early 1870s Gérôme was known for an astonishing range of visual exotica, all realized in precise, minute detail, achieved with thin layers of paint that revealed nary a brushstroke...His works were particularly sought after by wealthy
Americans...Over the course of his career, Gérôme sold to
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in Doha. "They want to take it back and have it for themselves," says art historian Emily M. Weeks. Egyptian industrialist and art collector Shafik Gabr sees Gérôme and other
Orientalist painters as "intrepid early globalists who put themselves at risk to document a new world opened by Napoleon
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Gérôme attended every
Wednesday and Saturday, demanding punctilious attendance to his instructions. His reputation as a severe critic was well-known. One of his American students, Stephen Wilson Van Shaick, commented that Gérôme was "merciless in judgement" yet possessed a "singular magnetism."
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Despite charges that the
Orientalizing paintings of Gérôme (and others) exploited and indulged in stereotypes of Arab and Muslim cultures, there is now "a high level of interest in collecting Gérôme's art in the Middle East," as evinced by high prices paid at auction for his work by the
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purchased the painting from Gérôme at a price of 80,000 francs, setting a new record for the artist. Gérôme's imagery of the turned thumb to signal life or death for a fallen gladiator was repeated in a multitude of movies, from the silent era up to and including the 2000 Oscar-winner
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Bonaparte's
Egyptian expedition from 1798 to 1801...'I have been inspired by these painters...These people traveled under very difficult circumstances with no knowledge of what to expect. They didn't travel to conquer or find oil. They traveled to discover and to understand.'"
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Beginning in the mid-1890s, in the last decade of his life, Gérôme made at least four paintings personifying Truth as a nude woman, either thrown into, at the bottom of, or emerging from a well. The imagery was inspired by an aphorism of the philosopher
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His well-researched and minutely detailed images of gladiator combats, chariot races, slave markets, and many other subjects from the ancient world created an indelible impression on popular culture.
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Gérôme's prodigious energy, long career, and wide popularity resulted in an enormous body of work that now resides in museums and private collections around the world; Ackerman's revised
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963:(the Gray Cardinal), descends the ceremonial staircase immersed in reading the Bible while all others either bow before him or fix their gaze on him. As Richelieu's chief adviser,
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Although Gérôme was very demanding of his students, he offered them considerable assistance outside Beaux-Arts, inviting them to his personal studio, making recommendations to the
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In 1853, Gérôme moved to the Boîte à Thé, a group of studios in the Rue Notre-Dame-des-Champs, Paris. This became a meeting place for artists, writers and actors, where
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Beginning in 1890, Gerome again drew inspiration from the ancient world with an interconnected, slyly self-referential series of paintings and sculptures that depicted
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On 10 January 1904, "the maid found him dead in the little room next to his atelier, slumped in front of a portrait of
Rembrandt and at the foot of his own painting
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755:. He started with sixteen students. Between 1864 and 1904, more than 2,000 students received at least some of their art education through Gérôme's atelier at the
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1307:). "Inspired by his characteristic desire for both archaeological accuracy and realism, Gérôme delicately tinted the skin, hair, lips, and nipples of his
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Mitchell, Claudine (2010). "The
Damaged Mirror: Gérôme's Narrative Technique and the Fractures of French History". In Allan, Scott; Morton, Mary (eds.).
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given in his memory was attended by a former president of the Republic, most prominent politicians, and many painters and writers. He was buried in the
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860:(Society of French Orientalist Painters), founded in 1893, named Gérôme honorary president. Gérôme was elected an International Honorary Member of the
223:, Haute-Saône. It was here that Gérôme first received instruction in drawing during his youth in school. He was instructed by local artist and teacher
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in the artist's hometown of Vesoul. Gérôme donated several works to the museum during his lifetime, and his heirs donated more works after his death.
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can be seen in the background. This complex self-portrait has been called "a summation of Gérôme's remarkable career as both painter and sculptor."
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collection. He organized a public demonstration in his atelier and gave interviews to reporters, including these comments published in the journal
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195:, portraits, and other subjects. He is considered one of the most important painters from the academic period. He was also a teacher with a long
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Ah! these people believe they are painting nature, nature so admirable in all its manifestations! What pretension! Nature is not for them! This
183:. His paintings were so widely reproduced that he was "arguably the world's most famous living artist by 1880." The range of his works includes
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in 1884. But he did attend the opening, after which he paid Manet the backhanded compliment that the exhibition was "not so bad as I thought."
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The most wide-ranging single collection of Gérôme's work may be the several rooms dedicated to displaying his paintings and sculptures at the
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718:. They had four daughters and one son. His oldest daughter was Jeanne (1863-1944) and she was followed by Suzanne (1867-1941; married to
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Jean-Léon Gérôme : peintre, sculpteur et graveur; ses oeuvres conservées dans les collections françaises et privées
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691:(both 1861) gave rise to some scandal by reason of the subjects selected by the painter, and inspired bitter attacks by
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Nineteenth-Century European Paintings at the Sterling and Francine Clark Art Institute (excerpt: "The Slave Market")
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his chosen themes corrupted the loftier purposes of art, thus leading to commercialism...they also objected to his
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By the end of his life, Gérôme felt very much a man out of his time. In 1903, recalling his first meeting with
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at the very moment she is transformed from marble into living flesh. The most famous of these paintings titled
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Gérôme abandoned his dream of winning the Prix de Rome and took advantage of his sudden success. His paintings
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During the last decades of his career, as his own work fell out of fashion, Gérôme was harshly critical of
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made a caricature where Gérôme is depicted in front of the wall with the art critics as the firing squad.
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Scott C. Allan and Mary Morton (ed.), Reconsidering Gérôme, Los Angeles: J. Paul Getty Museum, 2010, in:
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of the 19th century, Gérôme's prestige and popularity sharply declined in the 20th century; his painting
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Gérôme's legacy lived on through the works of his thousands of students from many countries, including:
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In 1852, Gérôme received a commission to paint a large mural of an allegorical subject of his choosing.
293:(1846) is an academic exercise depicting a nude young man and a very thinly draped young woman with two
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1537:"—but the source for this anecdote, the biographer Moreau-Vauthier, does not specify which painting of
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Among these are paintings in which the Oriental setting is combined with depictions of female nudity.
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Beeny, Emily (2010). "Blood Spectacle: Gérôme in the Arena". In Allan, Scott; Morton, Mary (eds.).
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1908:
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832:, he was promoted to an officer in 1867. In 1869, he was elected an honorary member of the British
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staging fencing matches on the model's dais, in the nude and with paintbrushes loaded with paint.
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from a living model in his Paris atelier, in which a Hoop Dancer and two different versions of
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1039:. The same year he exhibited a marble statue at the Salon of 1878, based on his early painting
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In 1854, he completed another important commission, decorating the Chapel of St. Jerome in the
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DeCourcy E. McIntosh, "Goupil and the American Triumph of Jean-Léon Gérôme", in Musée Goupil,
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179:; 11 May 1824 – 10 January 1904) was a French painter and sculptor in the style now known as
4762:, edited by S. Lees. 359–363. Williamstown, Mass: Sterling and Francine Clark Art Institute.
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One or more of the preceding sentences incorporates text from a publication now in the
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In 1863, he married Marie Goupil (1842–1912), the daughter of the international art dealer
532:. This heralded the start of many Orientalist paintings depicting Arab religious practice,
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of 1847, where it gained him a third-class medal. This work was seen as the epitome of the
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was called "the power behind the throne," which became the known definition of his title.
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In his thirties, Gérôme took up sculpture. His first work was a large bronze statue of a
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He experimented with mixed ingredients, using for his statues tinted marble, bronze and
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4438:"Once-reviled Orientalist art inspires Egyptian magnate to improve East-West relations"
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Over 350 Gerome images, list of students with examples of work, biography, and letters
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Nineteenth-century European Paintings at the Sterling and Francine Clark Art Institute
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Museum Builders in the West: The Stanfords as Collectors and Patrons of Art, 1870-1906
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In 1856, Gérôme visited Egypt for the first time. His itinerary followed the classic
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Gérôme himself invoked the metaphor of Truth and the well in a preface he wrote for
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At his own request, he was given a simple burial service without flowers. But the
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Bulletin de la société d'agriculture, lettres, sciences et arts de la Haute-Saône
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243:. On his return to Paris in 1844, like many students of Delaroche, he joined the
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literary techniques, of commercialising art, and of bringing politics into art.
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4575:"Catalogue Note, Lot 670: Jean-Léon Gérôme, The Story of Anacreon (Four Works)"
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Gérôme, Notes, "J. L. Gérôme á la montée de sa carrière, fait la balance", in:
3703:. Rochester, N.Y.: Memorial Art Gallery of the University of Rochester. p. 77.
3591:, vol. 11. Printed by Paul Jacquin in Besançon, 1899. pp. 255-56. Retrieved on
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Caricature of Gérôme by Henri Oulevay, commenting on the controversy roused by
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The museum in Gérôme's hometown displays many of his paintings and sculptures
3857:. Vol. 11 (11th ed.). Cambridge University Press. pp. 901–902.
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recently excavated in Greece, Gérôme sculpted the 5-foot-high, tinted-marble
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Gérôme then began a series of conquerors, wrought in gold, silver and gems:
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4634:
Allan, Scott (2010). "Introduction". In Allan, Scott; Morton, Mary (eds.).
4147:
3956:, trans. Isabel Ollivier. Paris: Réunion des musées nationaux, 2000, p. 38.
1926:
1708:
1569:
1565:
1545:
1451:à elle que la vérité est enfin sortie de son puits. Elle n'y rentrera plus.
1241:
In 1890, Gérôme made at least two paintings of the mythical Greek sculptor
509:
410:
267:, but failed in the final stage because his figure drawing was inadequate.
262:
4933:
849:
1696:
1688:
1412:
1312:
1278:
1046:
Aware of contemporary experiments of tinting marble (such as by those by
1011:
971:
800:
779:
700:
597:
524:, then further up the Nile to Abu Simbel, then back to Cairo, across the
432:
333:
302:
192:
145:
4896:—press kit for the 2012 exhibit at the Musée Anne-de-Beaujeu (in French)
4228:
Gérôme et la vérité en peinture, Autour de La Vérité sortant du puits...
4951:
in American public collections, on the French Sculpture Census website
1637:
1400:
952:
853:
517:
321:, whose review made Gérôme famous and effectively launched his career.
4349:
Jean-Léon Gérôme: Monographie révisée et catalogue raisonné mis à jour
1671:, to the consternation of the American museum that owns the painting.
1526:
On 31 December 1903, Gérôme wrote to his student and former assistant
1054:
combining movement with color, first exhibited in 1902 and now in the
4389:"Edwin Lord Weeks: An American Artist in North Africa and South Asia"
3275:
The Story of Anacreon 2: Young Love's Shivering Limbs the Embers Warm
1981:
1482:
1417:
of 1896. It has been assumed that the painting was a comment on the
1408:
Truth Coming Out of Her Well, Armed with Her Whip to Chastise Mankind
1130:. Schwab sent an actual steel worker to Paris to pose for the works.
1028:
970:
From approximately 1876 to 1890, Gérôme frequently worked with model
909:
533:
294:
130:
4617:
Jean-Léon Gérôme. Monographie révisée, catalogie raisonné mis a jour
3806:
1687:
was a losing argument, and his work was relegated to the margins of
1291:
Also in 1890, responding to widespread fascination with the ancient
955:
beginning in 1624. In the painting, François Le Clerc du Trembly, a
926:
Gérôme returned successfully to the Salon in 1873 with his painting
803:
on their behalf, and encouraging them to study with his colleagues.
539:
4959:
4729:
Edwin Lord Weeks: An American Artist in North Africa and South Asia
4408:
See critiques in Nochlin (1983); Toledano (1998, 4–6); Lees (2012).
1733:(c. 1870–1875) realized 2,655,000 GBP at auction, and his painting
1157:
bequest to the state which eventually became the foundation of the
947:
529:
306:
232:
126:
57:
4840:
Catalogue of the exhibition in the Musée de Vésoul (August 1981).
1856:
Portrait of Claude-Armand Gérôme (brother of the artist), c.1848,
1691:
by critics, historians, and museum professionals who believed that
738:
Students and model, believed to be one of Gérome's classes at the
1063:
1006:
244:
240:
4910:
4144:
The life and work of Jean-Léon Gérôme: with a catalogue raisonné
1840:
Portrait of Claude-Armand Gérôme (brother of the artist), 1848,
937:), a colorful depiction of the main stair hall of the palace of
528:
through Sinai and up the Wadi el-Araba to Jerusalem and finally
4855:
4829:– Oxford University Press, USA; new edition (January 2, 1996);
4738:
Charles Jalabert: l'homme, l'artiste, d'après sa correspondance
4692:
Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs
3968:"Thumbs Up or Thumbs Down? Looking at Gérôme's "Pollice Verso""
2730:
2253:
1318:
Gérôme subsequently created smaller, gilded bronze versions of
521:
467:
298:
220:
212:
84:
3054:
The Antique Pottery Painter: Sculpturæ vitam insufflat pictura
1725:(1876) was auctioned for 2,057,250 GBP; it now belongs to the
1476:, France, which now owns the painting, mounted the exhibition
670:(1850), a depiction of a brothel also in the Pompeian manner.
3769:"US museum condemns use of its art by German far-right party"
3305:
The Story of Anacreon 4: The Poet Dreams of Cupid by the Fire
3169:
Mendacibus et histrionibus occisa in puteo jacet alma Veritas
2878:
1625:
of 2018 lists approximately 700 paintings and 70 sculptures.
1300:
1183:
1175:
1079:
63:
4886:
Fin de partie: A Group of Self-Portraits by Jean-Léon Gérôme
4487:"Jean-Léon Gérôme's 'The Snake Charmer': A Twisted History"
4048:"Highlights of Allentown Art Museum Works in the Community"
4026:"Jean-Léon Gérôme's Nude (Emma Dupont): The Pose as Praxis"
2286:
Heads of the Rebel Beys at the Mosque of El Hasanein, Cairo
1556:, which he had cast for his son Jean who had died in 1891.
1193:
747:
Gérôme was appointed as one of the three professors at the
309:
movement that had formed out of Gleyre's studio (including
4230:. Regarder Gérôme, Musée d'Orsay, Dec 2010, Paris, France.
3891:"Jean Leon Gerome | American Academy of Arts and Sciences"
1357:
1153:. In 1894, he caused a scandal over his opposition to the
824:
Gérôme was elected, on his fifth attempt, a member of the
4598:
The life and work of Jean-Léon Gérôme; catalogue raisonné
3260:
The Story of Anacreon 1: Cupid at the Door in a Rainstorm
1322:; several versions of the "Hoop Dancer" figurine held by
662:
In 1858, he helped to decorate the Paris house of Prince
251:
and studied there for a brief time. He then attended the
231:, whom he later accompanied to Italy in 1843. He visited
4758:
Lees, Sarah. 2012. "Jean-Léon Gérôme: Slave Market". In
3701:
Orientalism, the Near East in French painting, 1800–1880
3665:"Siècle d'Auguste : Naissance de N.S. Jésus Christ"
4101:"The diminutive dancing girl who made a big impression"
3722:: Jean-Léon Gérôme: Eight Oil Sketches. 5 December 2004
466:
in this chapel reflects the influence of the school of
317:), and was championed by the influential French critic
4741:
by Émile Reinaud. Paris: Hachette, 1903, pp. 5–7.
4202:"Exposition autour de "La Vérité" de Jean-Léon Gérôme"
3754:
e.g. Nochlin (1983); Toledano (1998, 4–6); Lees (2012)
1432:
Jean-Léon Gérôme, portrait photogravure Goupil c. 1892
1403:, "Of truth we know nothing, for truth is in a well."
1031:
holding his foot on his victim, based on his painting
351:
In 1851, he decorated a vase later offered by Emperor
4291:
1608:
Gérôme Sculpting "The Gladiators": Monument to Gérôme
4377:. Getty Museum and Musée d'Orsay, 2010, pp. 183–210.
4292:
Moreau-Vauthier, Charles; Gérôme, Jean Léon (1906).
1645:
in Stockton, California, using detail from Gérôme's
1112:
In 1903 Gérôme executed a two sculpture commission,
904:, a painting of bloody gladiators and blood-thirsty
512:
oil sketches, Ger Eenens Collection, The Netherlands
4714:
The Spectacular Art of Jean-Léon Gérôme (1824–1904)
4712:, Dominque de Font-Rélaux and Édouard Papet (ed.),
4459:
The Spectacular Art of Jean-Léon Gérôme (1824–1904)
4375:
The Spectacular Art of Jean-Léon Gérôme (1824–1904)
2167:
Socrates Seeking Alcibiades in the House of Aspasia
689:
Socrates Seeking Alcibiades in the House of Aspasia
4635:
4174:Dictionnaire des orientalistes de langue française
3448:Jean-Léon Gérôme in his Paris studio, c. 1885-1890
990:Working in Marble, or The Artist Sculpting Tanagra
729:
520:of the Near East, up the Nile to Cairo, across to
4820:. Seattle/London: University of Washington Press.
4364:. Stanford University Museum of Art, 1986, p. 18.
666:in the Pompeian style. The prince had bought his
5308:
4818:Slavery and Abolition in the Ottoman Middle East
4454:
3290:The Story of Anacreon 3: Cupid Runs out the Door
1346:In this cycle of works, with its exploration of
974:, who posed for several of his works, including
596:Gérôme's reputation was greatly enhanced at the
301:in the background. He sent this painting to the
4732:, dissertation, University of Washington, 2013.
4386:
4373:Morton, Mary G. "Gérôme in the Gilded Age," in
4336:The Modern West: American Landscapes, 1890-1950
3056:(painting breathes life into sculpture), 1893,
641:
4795:Nochlin, Linda. 1983. "The Imaginary Orient".
4751:Gérôme: The Life and Works of Jean-Léon Gérôme
4555:For a recent appreciation see Sebastian Smee,
3993:Gladiator: The Making of the Ridley Scott Epic
806:
5412:Members of the American Philosophical Society
4975:
4499:
4328:
4177:(in French). Karthala Editions. p. 466.
4124:
3366:, caricature of Gérôme, between 1858 and 1870
1219:, marble, 1890, photogravure Goupil c. 1892,
30:"Gerome" redirects here. For other uses, see
4660:Bayard, Émile; preface by Jean Léon Gérôme.
4557:"A masterpiece with a complicated afterlife"
4524:
4435:
4239:Bayard, Émile; preface by Jean Léon Gérôme.
4131:. IX, 72. Perseus Project, Tufts University.
3615:
3613:
3611:
3609:
3607:
3605:
3603:
3601:
2598:The Standing Bearer, Unfolding the Holy Flag
1647:The Standing Bearer, Unfolding the Holy Flag
1448:
1086:was exhibited in 1891. His lifesize statue
756:
748:
739:
336:in 1848. In 1849, he produced the paintings
260:
259:. In 1846 he tried to enter the prestigious
252:
5397:Members of the Ligue de la patrie française
4755:New York, Cassell Publishing Company, 1892.
4572:
4098:
3870:
3868:
3866:
3864:
3799:
3762:
3760:
3551:Société des Peintres Orientalistes Français
3381:, portrait of Gérôme, between 1860 and 1875
2661:, bronze, 1878, photogravure Goupil c. 1892
1872:The Virgin, the Infant Jesus and Saint John
1133:
1082:inlaid with precious stones and paste. His
864:in 1875 and an International Member of the
858:Société des Peintres Orientalistes Français
326:The Virgin, the Infant Jesus and Saint John
5154:Reception of the Grand Condé at Versailles
4982:
4968:
4952:
4870:at the Bibliothèque Municipale de Besançon
4196:
4194:
3934:
3874:
3766:
3683:"The Age of Augustus, the Birth of Christ"
3637:
3635:
3633:
3631:
3629:
2038:, 1857; provenance discussed by Sarah Lees
1747:
912:that became one of his most famous works.
56:
4868:Eight portraits of Gérôme at various ages
4719:Chisholm, Hugh, ed. "Gérôme, Jean Léon,"
4431:
4429:
4351:, France: Art Création Réalisation, 2018.
4061:
4059:
4057:
3619:Chisholm, Hugh, ed. "Gérôme, Jean Léon",
3598:
3557:
3525:, bronze head of Jean-Léon Gérôme, 1909,
3344:Jean-Léon Gérôme, self-portrait c. 1844,
2919:La fin de séance (The End of the Session)
1660:in an anti-Muslim campaign poster by the
4765:
4614:
4595:
4448:
4416:
4414:
4323:The American Pupils of Jean-Léon Gérôme,
4170:
4141:
3940:
3861:
3843:
3757:
3553:(Society of French Orientalist Painters)
3396:, Bust of Jean-Léon Gérôme, after 1871,
1636:
1602:
1493:
1427:
1374:
1261:
1209:
1194:Late career: the Pygmalion–Tanagra cycle
1137:
1005:
883:
810:
768:
733:
645:
538:
500:
487:The Age of Augustus, the Birth of Christ
419:
407:The Age of Augustus, the Birth of Christ
396:The Age of Augustus, the Birth of Christ
390:
386:
269:
206:
4723:(11th ed.). Cambridge University, 1901.
4716:, Getty Museum and Musée d'Orsay, 2010.
4191:
3626:
3623:(11th ed.). Cambridge University, 1901.
3486:, Gérome painting a hoop dancer, 1897,
1206:Pygmalion and Galatea (Gérôme painting)
941:, popularly known as the Red Cardinal (
27:French painter and sculptor (1824–1904)
14:
5402:Grand Officers of the Legion of Honour
5362:Members of the Académie des beaux-arts
5309:
4484:
4426:
4380:
4338:, Yale University Press, 2006, p. 108.
4092:
4067:"Jean-Léon Gérôme (French, 1824–1904)
4054:
4023:
3730:
3728:
1035:(1872) and shown to the public at the
664:Napoléon Joseph Charles Paul Bonaparte
359:, now part of the Royal Collection at
5407:Honorary members of the Royal Academy
4963:
4880:Jean-Léon Gérôme-Biography and Legacy
4804:Aloysius O'Kelly: Art, Nation, Empire
4744:Hering, Fanny Field; introduction by
4735:Gérôme, Jean-Léon (1903). Preface to
4667:
4633:
4420:
4411:
4019:
4017:
4015:
3965:
3954:Gérôme and Goupil: Art and Enterprise
3877:Aloysius O'Kelly: Art, Nation, Empire
3767:Grieshaber, Kirsten (30 April 2019).
3575:
2051:Egyptian Recruits Crossing the Desert
1339:Gérôme also sculpted a tinted-marble
862:American Academy of Arts and Sciences
602:Egyptian Recruits Crossing the Desert
174:
4989:
4532:"Jean-Léon Gérôme page at Sotheby's"
4325:Fort Worth: Amon Carter Museum, 1984
3734:
3569:
1683:Gérôme's highly vocal opposition to
711:, two very minutely finished works.
4900:Jean-Léon Gérôme/Art Renewal Center
3995:. New York: Newmarket, 2000, p. 26.
3725:
3330:
3115:; Gérôme depicts himself sculpting
1273:; Gérôme depicts himself sculpting
24:
5186:The Christian Martyrs' Last Prayer
4906:Artencyclopedia.com page on Gérôme
4813:94 (2012), No. 2, pp. 312–316
4312:Benezit Dictionary of Artists 2006
4012:
3966:Spier, Christine (6 August 2010).
3546:List of pupils of Jean-Léon Gérôme
3207:Truth Is at the Bottom of the Well
2494:, c. 1870–1875, private collection
2182:The Christian Martyrs' Last Prayer
493:that garnered the most attention.
211:Birthplace of Jean-Léon Gérôme in
25:
5423:
4849:
4436:Turque, Bill (21 February 2013).
2547:Rider and his Steed in the Desert
1299:, a female nude personifying the
828:in 1865. Already a knight in the
628:; a copy made by Gérôme in 1859,
587:2019 European Parliament election
489:, but it was the modest painting
332:took a second-class medal at the
5252:
4854:
4463:Nineteenth-Century Art Worldwide
4030:Nineteenth-Century Art Worldwide
3831:
3587:Besson, Nicolas François Louis.
3515:
3495:
3476:
3453:
3441:
3423:
3415:, Jean-Léon Gérôme medal, 1885,
3405:
3386:
3371:
3356:
3337:
3312:
3297:
3282:
3267:
3252:
3241:Entry of the Christ at Jerusalem
3233:
3218:
3198:
3189:, study for a painting of 1895,
3177:
3160:
3143:
3123:
3101:
3079:
3064:
3046:
3031:
3014:
2994:
2979:
2962:
2944:
2926:
2911:
2887:
2869:
2850:
2832:
2814:
2796:
2778:
2760:
2740:
2722:
2704:
2686:
2666:
2651:
2626:
2608:
2590:
2572:
2554:
2539:
2519:
2499:
2484:
2469:
2449:
2431:
2411:
2391:
2373:
2346:
2328:
2311:
2293:
2278:
2263:
2245:
2227:
2212:
2192:
2174:
2159:
2141:
2123:
2103:
2088:
2073:
2058:
2043:
2028:
2010:
1991:
1973:
1952:
1934:
1915:
1897:
1879:
1864:
1849:
1833:
1812:
1794:
1776:
1754:
1022:Bibliothèque Nationale de France
786:appear especially bloodthirsty.
675:Ave Caesar! Morituri te Salutant
652:Ave Caesar! Morituri te Salutant
157:
4913:nearly 300 images by the artist
4806:, Field Day Publications, 2010.
4566:
4549:
4478:
4402:
4367:
4354:
4341:
4315:
4306:
4298:(in French). Hachette. p.
4285:
4276:
4246:
4233:
4220:
4164:
4135:
4118:
4040:
3998:
3985:
3959:
3946:
3909:
3883:
3879:. Field Day Publications, 2010.
3824:
3786:
3748:
2733:Blowing Smoke in His Dog's Nose
2206:Princeton University Art Museum
1999:A Soul Carried Away by an Angel
1737:(1870) realized 3,135,000 GBP.
1729:in Doha. In 2019, his painting
1574:Vasily Vasilyevich Vereshchagin
1343:(1891) based on his paintings.
1061:Among his other sculptures are
730:Atelier at École des Beaux-Arts
508:, 1878, an example of Gérôme's
5367:Burials at Montmartre Cemetery
4925:New International Encyclopedia
4874:Musée Georges-Garret de Vesoul
3713:
3693:
3675:
3657:
3581:
866:American Philosophical Society
536:and North African landscapes.
506:Encampment near Constantinople
496:
13:
1:
5387:19th-century French sculptors
5382:20th-century French sculptors
5029:The Duel After the Masquerade
4485:Finkel, Jori (13 June 2010).
4128:Lives of Eminent Philosophers
4005:Museum of Fine Arts, Boston:
3562:
3307:, c. 1899, private collection
3292:, c. 1899, private collection
3277:, c. 1899, private collection
3262:, c. 1899, private collection
3186:Truth at the Bottom of a Well
2989:, c. 1890, private collection
2112:The Duel After the Masquerade
1960:Michelangelo Being Shown the
1311:, causing a sensation at the
1182:Similarly he objected to the
1145:, c. 1895, private collection
1122:for the American millionaire
1071:which stands in front of the
1067:(1887) and the statue of the
631:The Duel After the Masquerade
219:Jean-Léon Gérôme was born at
202:
5347:20th-century French painters
5337:19th-century French painters
5242:Truth Coming Out of Her Well
5194:Slave Market in Ancient Rome
5107:The Execution of Marshal Ney
4792:(in French). Hachette, 1906.
4790:Gérôme: peintre et sculpteur
4465:vol. 9, no. 2 (Autumn 2010)"
4295:Gérôme: peintre et sculpteur
4258:officiel-galeries-musees.com
4142:Ackerman, Gerald M. (1986).
4073:The Artist Sculpting Tanagra
3212:Musée des beaux-arts de Lyon
2956:Museum of Fine Arts, Houston
2938:Minneapolis Institute of Art
2822:Slave Market in Ancient Rome
2479:, (1870), private collection
2420:The Execution of Marshal Ney
2239:Minneapolis Institute of Art
2018:An Idyll (Daphnis and Chloe)
1654:use in 2019 of his painting
1381:Truth Coming Out of Her Well
1371:Truth Coming Out of Her Well
1056:Musée des Beaux-Arts de Caen
1037:Universal Exhibition of 1878
1001:
873:The Execution of Marshal Ney
818:The Execution of Marshal Ney
642:Return to Classical subjects
585:in a campaign poster in the
491:Recreation in a Russian Camp
475:Universal Exhibition of 1855
464:Last Communion of St. Jerome
425:Recreation in a Russian Camp
7:
5372:French Orientalist painters
5202:Bonaparte Before the Sphinx
5067:Phryne Before the Areopagus
4507:"Femme circassienne voilée"
4171:Pouillon, François (2012).
4099:Susan Moore (16 May 2018).
3699:Rosenthal, Donald A. 1982.
3589:Les Annales Franc-Comtoises
3541:List of Orientalist artists
3534:
2896:Bonaparte Before the Sphinx
1887:Anacreon, Bacchus, and Eros
1763:Phryne Before the Areopagus
1186:memorial exhibition at the
935:Museum of Fine Arts, Boston
893:Museum of Fine Arts, Boston
807:Honors and mid-career works
709:Rembrandt Biting an Etching
684:Phryne Before the Areopagus
657:Yale University Art Gallery
435:entertained the composers:
10:
5428:
4788:Moreau-Vauthier, Charles.
4600:. Sotheby's Publications.
4589:
4396:digital.lib.washington.edu
3484:Léopold Bernhard Bernstamm
3417:Metropolitan Museum of Art
3074:, 1893, private collection
3041:, 1892, private collection
3008:Metropolitan Museum of Art
2974:, 1890, private collection
2921:, 1886, private collection
2882:, 1885, private collection
2735:, 1882, private collection
2549:, 1872, private collection
2513:Metropolitan Museum of Art
2477:Riders Crossing the Desert
2463:Metropolitan Museum of Art
2443:Metropolitan Museum of Art
2323:, 1866, private collection
2273:, 1865, private collection
2235:Young Greeks at the Mosque
2222:, 1863, private collection
1874:, 1848, private collection
1735:Riders Crossing the Desert
1703:As with other painters of
1610:, 1909, by his son-in-law
1368:
1257:Metropolitan Museum of Art
1203:
1200:Tanagra (Gérôme sculpture)
1197:
1143:Summer Afternoon on a Lake
1041:Anacreon, Bacchus and Eros
600:of 1857 by his display of
330:Anacreon, Bacchus and Eros
36:
29:
5352:20th-century male artists
5288:
5261:
5250:
4997:
4935:"Gérôme, Jean Léon"
4919:"Gérôme, Jean-Léon"
4615:Ackerman, Gerald (2000).
4596:Ackerman, Gerald (1986).
3735:Lees, Sarah, ed. (2012).
2580:Femme circassienne voilée
1984:or ancient Greek Interior
1719:Femme circassienne voilée
1559:
848:at the Imperial Court in
778:, 1872, popularized the "
757:
749:
740:
261:
253:
156:
151:
137:
122:
108:
92:
70:
55:
48:
4816:Toledano, Ehud R. 1998.
4387:Garvey, Dana M. (2013).
4254:"La vérité est au musée"
3502:Self-portrait, painting
3379:Robert Jefferson Bingham
3226:Bonaparte Entering Cairo
3172:, 1895, location unknown
3109:The Artist and His Model
3095:The Artist and His Model
2786:The Saddle Bazaar, Cairo
2620:Art Institute of Chicago
1909:Art Institute of Chicago
1723:Veiled Circassian Beauty
1489:
1350:, creative inspiration,
1134:Gérôme and Impressionism
1099:Bonaparte Entering Cairo
914:Alexander Turney Stewart
898:In 1872 Gérôme produced
840:, awarded him the Grand
470:on his religious works.
37:Not to be confused with
4941:The American Cyclopædia
4826:Grove Dictionary of Art
4721:Encyclopædia Britannica
4664:. Paris: Bernard, 1902.
4243:. Paris: Bernard, 1902.
3854:Encyclopædia Britannica
3621:Encyclopædia Britannica
3093:, seen in his painting
2584:Qatar Museums Authority
1748:Gallery (chronological)
1727:Qatar Museums Authority
1677:Qatar Museums Authority
1669:Alternative for Germany
1552:in front of the statue
1457:She will never go back.
1092:Royal Academy of London
1052:Dancer with Three Masks
836:. The King of Prussia,
705:Egyptian Chopping Straw
579:Alternative for Germany
564:The Large Pool of Bursa
373:Bacchus and Love, Drunk
363:, London. He exhibited
39:Jean Leon Gerome Ferris
32:Gerome (disambiguation)
5170:A Chat by the Fireside
4911:www.jeanleongerome.org
4893:La Vérité est au musée
4882:at www.theartstory.org
4799:71(5): 118–31, 187–91.
4457:"Exhibition review of
4442:www.washingtonpost.com
4321:Weinberg, H. Barbara,
4260:. 2012. Archived from
4024:Waller, Susan (2014).
3991:Diana Landau, editor.
3558:References and sources
3413:Jules-Clément Chaplain
3398:Ny Carlsberg Glyptotek
3394:Jean-Baptiste Carpeaux
3346:Eskenazi Museum of Art
3324:Columbus Museum of Art
3058:Art Gallery of Ontario
2768:The Grief of the Pasha
2492:The Harem in the Kiosk
2135:Museo de Arte de Ponce
1806:Saint Louis Art Museum
1788:Saint Louis Art Museum
1731:The Harem in the Kiosk
1701:
1650:
1632:
1618:
1524:
1506:
1478:La vérité est au musée
1459:
1449:
1433:
1414:Salon du Champ de Mars
1395:
1288:
1245:kissing his statue of
1223:
1180:
1146:
1024:
980:The End of the Sitting
895:
842:Order of the Red Eagle
821:
791:
744:
659:
553:
513:
428:
402:
353:Napoleon III of France
284:
216:
176:[ʒɑ̃leɔ̃ʒeʁom]
5392:French male sculptors
5377:Neo-Pompeian painters
5226:Pygmalion and Galatea
4863:at Wikimedia Commons
4455:Weisberg, Gabriel P.
3811:Suite d'un bal masqué
3039:Prayers in the Mosque
3023:Pygmalion and Galatea
3003:Pygmalion and Galatea
2533:Cincinnati Art Museum
2271:Evening Prayer, Cairo
1821:Saint Vincent de Paul
1693:
1640:
1627:
1606:
1515:
1497:
1463:Musée Anne de Beaujeu
1446:
1431:
1411:was exhibited in the
1386:Musée Anne de Beaujeu
1378:
1341:Pygmalion and Galatea
1333:Pygmalion and Galatea
1284:Pygmalion and Galatea
1265:
1252:Pygmalion and Galatea
1213:
1167:
1141:
1119:Metallurgical Science
1009:
887:
814:
772:
737:
649:
614:Suite d'un bal masqué
542:
504:
460:church of St. Séverin
423:
394:
387:Important commissions
273:
225:Claude-Basile Cariage
210:
172:French pronunciation:
87:, Haute-Saône, France
5342:French male painters
5123:Prayer in the Mosque
5075:Cleopatra and Caesar
4772:J. Paul Getty Museum
4768:Reconsidering Gérôme
4746:Augustus St. Gaudens
4674:J. Paul Getty Museum
4670:Reconsidering Gérôme
4644:J. Paul Getty Museum
4638:Reconsidering Gérôme
4347:Ackerman, Gerald M.
4334:Neff, Emily Ballew.
4282:Gérôme (1903), p. 5.
3972:blogs.getty.edu/iris
3921:search.amphilsoc.org
3917:"APS Member History"
3645:The Whirling Dervish
3527:Musée Georges-Garret
3508:Musée Georges-Garret
3488:Musée Georges-Garret
3469:Musée Georges-Garret
3465:The Sculptor at Work
3435:Aberdeen Art Gallery
3245:Musée Georges-Garret
3191:Musée Georges-Garret
2840:A Roman Slave Market
2808:Milwaukee Art Museum
2716:Musée Georges-Garret
2508:Prayer in the Mosque
2320:Cleopatra and Caesar
2220:Prayer in the Desert
2003:Musée Georges-Garret
1967:Dahesh Museum of Art
1842:The National Gallery
1826:Musée Georges-Garret
1802:The Tryst (interior)
1784:The Tryst (exterior)
1742:Musée Georges-Garret
1582:Henri-Camille Danger
1578:Stanisław Chlebowski
1503:Musée Georges-Garret
1277:, likely from model
1271:Dahesh Museum of Art
1188:École des Beaux Arts
1073:Château de Chantilly
945:), who was France's
782:" gesture; Gérôme's
758:École des Beaux-Arts
751:École des Beaux-Arts
741:École des Beaux-Arts
693:Paul de Saint-Victor
606:Memnon and Sesostris
346:A Portrait of a Lady
255:École des Beaux-Arts
185:historical paintings
5210:The Carpet Merchant
5091:The Death of Caesar
5014:The Age of Augustus
4125:Diogenes Laertius.
4105:apollo-magazine.com
4050:. 18 December 2010.
3744:. pp. 359–363.
3320:Souvenir of Achéres
3135:, marble, c. 1895,
2934:The Carpet Merchant
2680:Clark Art Institute
2400:The Death of Caesar
2115:, version of 1859,
1905:Portrait of a Woman
1891:Musée des Augustins
1662:right wing populist
1550:Montmartre Cemetery
1348:Classical antiquity
1115:Metallugical Worker
1107:Frederick the Great
699:. Also at the 1861
572:right wing populist
550:Clark Art Institute
5332:People from Vesoul
5234:The Birth of Venus
4844:. Ville de Vésoul.
4360:Osborne, Carol M.
4226:Bertrand Tillier.
3720:Gerald M. Ackerman
3669:www.musee-orsay.fr
3350:Indiana University
2987:La Danse Pyrrhique
2971:The Birth of Venus
2952:Tiger on the Watch
2877:The Large Pool of
2844:Walters Art Museum
2754:Walters Art Museum
2425:Graves Art Gallery
2405:Walters Art Museum
2357:("It is Finished")
2340:Walters Art Museum
2186:Walters Art Museum
2153:Walters Art Museum
2117:Walters Art Museum
2096:Wallace Collection
2081:Wallace Collection
1942:Portrait of a Lady
1858:Fitzwilliam Museum
1768:Kunsthalle Hamburg
1651:
1623:catalogue raisonné
1619:
1513:in 1840, he wrote:
1507:
1434:
1396:
1289:
1287:in the background.
1224:
1171:Institut de France
1147:
1025:
976:Nude (Emma Dupont)
939:Cardinal Richelieu
896:
826:Institut de France
822:
792:
788:Phoenix Art Museum
745:
660:
636:Walters Art Museum
616:(purchased by the
554:
514:
447:and the novelists
429:
403:
361:St. James's Palace
311:Henri-Pierre Picou
297:, with the Bay of
285:
217:
5304:
5303:
5162:The Snake Charmer
4859:Media related to
4781:978-1-60606-038-4
4710:Laurence des Cars
4683:978-1-60606-038-4
4653:978-1-60606-038-4
4492:Los Angeles Times
4208:. 18 January 2012
4069:Working in Marble
3897:. 9 February 2023
3849:Gérôme, Jean Léon
3152:Leda and the Swan
2804:The Two Majesties
2772:Joslyn Art Museum
2675:The Snake Charmer
2305:Joslyn Art Museum
2201:Napoleon in Egypt
1714:The Snake Charmer
1705:Classical Realism
1598:Gottardo Piazzoni
1580:, Ahmed Ali Bey,
1554:La Douleur (Pain)
1293:Tanagra figurines
1267:Working in Marble
1126:meant to glorify
1124:Charles M. Schwab
951:ruler under King
449:Théophile Gautier
445:Gioachino Rossini
400:Musée de Picardie
369:Souvenir d'Italie
319:Théophile Gautier
165:
164:
16:(Redirected from
5419:
5317:Jean-Léon Gérôme
5256:
5147:
5083:The Slave Market
5060:
5045:
5022:
4991:Jean-Léon Gérôme
4984:
4977:
4970:
4961:
4960:
4956:
4949:Jean-Léon Gérôme
4945:
4937:
4929:
4921:
4861:Jean-Léon Gérôme
4858:
4845:
4785:
4726:Garvey, Dana M.
4687:
4662:Le Nu Esthétique
4657:
4641:
4630:
4611:
4583:
4582:
4579:www.sothebys.com
4573:Weeks, Emily M.
4570:
4564:
4553:
4547:
4546:
4544:
4542:
4528:
4522:
4521:
4519:
4517:
4503:
4497:
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4482:
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4475:
4473:
4471:
4452:
4446:
4445:
4433:
4424:
4418:
4409:
4406:
4400:
4399:
4393:
4384:
4378:
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4365:
4358:
4352:
4345:
4339:
4332:
4326:
4319:
4313:
4310:
4304:
4303:
4289:
4283:
4280:
4274:
4273:
4271:
4269:
4264:on 2 August 2020
4250:
4244:
4241:Le Nu Esthétique
4237:
4231:
4224:
4218:
4217:
4215:
4213:
4198:
4189:
4188:
4168:
4162:
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4139:
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4132:
4122:
4116:
4115:
4113:
4111:
4096:
4090:
4089:
4087:
4085:
4079:daheshmuseum.org
4063:
4052:
4051:
4044:
4038:
4037:
4021:
4010:
4007:L'Eminence Grise
4002:
3996:
3989:
3983:
3982:
3980:
3978:
3963:
3957:
3950:
3944:
3943:, pp. 97–99
3938:
3932:
3931:
3929:
3927:
3913:
3907:
3906:
3904:
3902:
3887:
3881:
3880:
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3859:
3858:
3837:
3835:
3834:
3828:
3822:
3821:
3819:
3817:
3803:
3797:
3796:, 1980, pp. 1–30
3790:
3784:
3783:
3781:
3779:
3764:
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3745:
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3672:
3661:
3655:
3654:
3639:
3624:
3617:
3596:
3595:, Oct. 11, 2023.
3585:
3579:
3573:
3519:
3499:
3480:
3457:
3445:
3427:
3409:
3390:
3375:
3360:
3341:
3331:Images of Gérôme
3316:
3301:
3286:
3271:
3256:
3237:
3222:
3202:
3181:
3164:
3147:
3127:
3105:
3083:
3072:Tanagra Workshop
3068:
3050:
3035:
3018:
2998:
2983:
2966:
2948:
2930:
2915:
2891:
2873:
2854:
2836:
2826:Hermitage Museum
2818:
2800:
2782:
2764:
2744:
2726:
2708:
2694:The Wailing Wall
2690:
2670:
2655:
2630:
2612:
2594:
2576:
2566:Hermitage Museum
2558:
2543:
2528:The Slave Market
2523:
2503:
2488:
2473:
2453:
2435:
2415:
2395:
2381:The Horse Market
2377:
2350:
2332:
2315:
2297:
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2196:
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2047:
2032:
2014:
1995:
1977:
1956:
1938:
1919:
1901:
1883:
1868:
1853:
1837:
1816:
1798:
1780:
1766:(detail), 1861,
1758:
1657:The Slave Market
1594:Edwin Lord Weeks
1520:auri sacra fames
1511:Charles Jalabert
1471:
1453:
1442:Le Nu Esthétique
1394:
1305:Tanagra figurine
1234:; the spirit of
1128:Steel production
1014:, the model for
965:L'Eminence Grise
961:L'Eminence Grise
943:L'Eminence Rouge
889:L'Eminence Grise
830:Légion d'honneur
760:
759:
754:
753:
743:
742:
583:The Slave Market
559:The Slave Market
545:The Slave Market
398:, c. 1852–1854,
315:Jean-Louis Hamon
266:
265:
258:
257:
197:list of students
178:
173:
168:Jean-Léon Gérôme
161:
99:
80:
78:
60:
50:Jean-Léon Gérôme
46:
45:
21:
18:Jean-Léon Gerome
5427:
5426:
5422:
5421:
5420:
5418:
5417:
5416:
5307:
5306:
5305:
5300:
5284:
5257:
5248:
5178:The Tulip Folly
5141:
5054:
5039:
5016:
4993:
4988:
4932:
4916:
4888:by Susan Waller
4852:
4782:
4770:. Los Angeles:
4698:, Paris, 1976;
4696:Librairie Gründ
4684:
4672:. Los Angeles:
4654:
4642:. Los Angeles:
4627:
4608:
4592:
4587:
4586:
4571:
4567:
4563:, 30 Dec. 2020.
4561:Washington Post
4554:
4550:
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4192:
4185:
4169:
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4150:. p. 276.
4140:
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3935:
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3915:
3914:
3910:
3900:
3898:
3889:
3888:
3884:
3875:O'Sullivan, N.
3873:
3862:
3847:, ed. (1911). "
3832:
3830:
3829:
3825:
3815:
3813:
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3791:
3787:
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3726:
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3698:
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3681:
3680:
3676:
3663:
3662:
3658:
3651:stairsainty.com
3641:
3640:
3627:
3618:
3599:
3586:
3582:
3574:
3570:
3565:
3560:
3537:
3530:
3520:
3511:
3504:The Ball Player
3500:
3491:
3481:
3472:
3458:
3449:
3446:
3437:
3428:
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3401:
3391:
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3333:
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3229:
3223:
3214:
3203:
3194:
3182:
3173:
3165:
3156:
3148:
3139:
3132:Sarah Bernhardt
3128:
3119:
3106:
3097:
3084:
3075:
3069:
3060:
3051:
3042:
3036:
3027:
3019:
3010:
2999:
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2967:
2958:
2949:
2940:
2931:
2922:
2916:
2907:
2892:
2883:
2874:
2865:
2864:, San Francisco
2862:Legion of Honor
2855:
2846:
2837:
2828:
2819:
2810:
2801:
2792:
2783:
2774:
2765:
2756:
2749:The Tulip Folly
2745:
2736:
2727:
2718:
2709:
2700:
2691:
2682:
2671:
2662:
2656:
2647:
2631:
2622:
2613:
2604:
2595:
2586:
2577:
2568:
2562:Pool in a Harem
2559:
2550:
2544:
2535:
2524:
2515:
2504:
2495:
2489:
2480:
2474:
2465:
2454:
2445:
2436:
2427:
2416:
2407:
2396:
2387:
2378:
2369:
2351:
2342:
2338:, before 1867,
2333:
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2316:
2307:
2298:
2289:
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2274:
2268:
2259:
2250:
2241:
2232:
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2078:
2069:
2063:
2054:
2048:
2039:
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2024:
2015:
2006:
1996:
1987:
1978:
1969:
1962:Belvedere Torso
1957:
1948:
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1930:
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1911:
1902:
1893:
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1641:Banner for the
1562:
1492:
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1388:
1373:
1367:
1238:; and himself.
1208:
1202:
1196:
1136:
1050:), he produced
1004:
809:
732:
644:
610:Camels Watering
568:Pool in a Harem
526:Sinai Peninsula
499:
477:he contributed
441:Johannes Brahms
389:
205:
189:Greek mythology
171:
104:
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97:
96:10 January 1904
88:
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5296:List of pupils
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5006:The Cock Fight
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4850:External links
4848:
4847:
4846:
4837:
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4814:
4807:
4802:O'Sullivan N.
4800:
4797:Art in America
4793:
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3895:www.amacad.org
3882:
3860:
3845:Chisholm, Hugh
3823:
3798:
3785:
3773:www.apnews.com
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3461:Fernand Cormon
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2131:King Candaules
2129:
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2098:, London, 1859
2094:
2087:
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2083:, London, 1859
2079:
2072:
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2064:
2057:
2055:
2049:
2042:
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2036:Buying a Slave
2034:
2027:
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2016:
2009:
2007:
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1990:
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1804:, after 1840,
1800:
1793:
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1786:, after 1840,
1782:
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1760:
1753:
1749:
1746:
1586:Hosui Yamamoto
1561:
1558:
1541:. He was 79.
1491:
1488:
1419:Dreyfus affair
1369:Main article:
1366:
1361:—"This is our
1356:
1255:is now in the
1204:Main article:
1198:Main article:
1195:
1192:
1135:
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1003:
1000:
930:Eminence Grise
906:Vestal virgins
808:
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784:Vestal virgins
731:
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724:Folies Bergère
716:Adolphe Goupil
697:Maxime Du Camp
679:King Candaules
668:Greek Interior
643:
640:
498:
495:
462:in Paris. His
437:Hector Berlioz
388:
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365:Greek Interior
295:fighting cocks
290:The Cock Fight
276:The Cock Fight
249:Charles Gleyre
229:Paul Delaroche
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113:Paul Delaroche
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100:(aged 79)
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62:Photograph by
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5131:Pollice Verso
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3941:Mitchell 2010
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3807:"Musée Condé"
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3431:Self-portrait
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3113:Haggin Museum
3110:
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2905:Hearst Castle
2902:
2898:
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2860:, 1880–1885,
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2790:Haggin Museum
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2698:Israel Museum
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2642:
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2637:
2634:Reception of
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2441:, 1868–1869,
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2409:
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2394:
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2385:Haggin Museum
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2367:Musée d'Orsay
2364:
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2337:
2336:On the Desert
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2019:
2013:
2008:
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1994:
1989:
1985:
1983:
1976:
1971:
1968:
1964:
1963:
1955:
1950:
1947:
1943:
1937:
1932:
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1925:, 1848–1849,
1924:
1923:La République
1918:
1913:
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1685:Impressionism
1681:
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1648:
1644:
1643:Haggin Museum
1639:
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1616:Musée d'Orsay
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1590:Thomas Eakins
1587:
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1528:Albert Aublet
1523:
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1512:
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1461:In 2012, the
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1423:Impressionism
1420:
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1352:doppelgängers
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1033:Pollice Verso
1030:
1023:
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901:Pollice Verso
894:
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879:Henri Oulevay
875:
874:
869:
867:
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856:in 1869. The
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835:
834:Royal Academy
831:
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703:he exhibited
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379:in 1852; and
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342:In his Studio
340:(also called
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200:
198:
194:
190:
186:
182:
177:
169:
160:
155:
150:
147:
143:
140:
136:
132:
128:
125:
121:
118:
114:
111:
107:
103:Paris, France
95:
91:
86:
73:
69:
65:
59:
54:
47:
44:
40:
33:
19:
5357:Academic art
5276:
5268:
5240:
5232:
5224:
5216:
5208:
5200:
5192:
5184:
5176:
5168:
5160:
5152:
5139:Chariot Race
5137:
5129:
5121:
5115:Bashi-Bazouk
5113:
5105:
5097:
5089:
5081:
5073:
5065:
5052:The Prisoner
5050:
5035:
5032:(1857, 1859)
5027:
5012:
5004:
4990:
4939:
4923:
4892:
4853:
4841:
4824:
4817:
4811:Art Bulletin
4810:
4803:
4796:
4789:
4767:
4759:
4750:
4737:
4728:
4720:
4713:
4691:
4669:
4661:
4637:
4616:
4597:
4578:
4568:
4560:
4551:
4539:. Retrieved
4536:sothebys.com
4535:
4526:
4514:. Retrieved
4510:
4501:
4490:
4480:
4468:. Retrieved
4462:
4458:
4450:
4441:
4404:
4395:
4382:
4374:
4369:
4361:
4356:
4348:
4343:
4335:
4330:
4322:
4317:
4308:
4294:
4287:
4278:
4266:. Retrieved
4262:the original
4257:
4248:
4240:
4235:
4222:
4210:. Retrieved
4205:
4173:
4166:
4143:
4137:
4127:
4120:
4108:. Retrieved
4104:
4094:
4082:. Retrieved
4078:
4072:
4068:
4042:
4033:
4029:
4006:
4000:
3992:
3987:
3975:. Retrieved
3971:
3961:
3953:
3948:
3936:
3924:. Retrieved
3920:
3911:
3899:. Retrieved
3894:
3885:
3876:
3852:
3826:
3814:. Retrieved
3810:
3801:
3793:
3788:
3776:. Retrieved
3772:
3750:
3737:
3715:
3700:
3695:
3686:
3677:
3668:
3659:
3650:
3644:
3620:
3593:Google Books
3588:
3583:
3578:, p. 42
3571:
3503:
3464:
3430:
3400:, Copenhagen
3319:
3304:
3289:
3274:
3259:
3240:
3225:
3206:
3185:
3168:
3150:
3130:
3116:
3108:
3094:
3086:
3071:
3053:
3038:
3021:
3001:
2986:
2969:
2951:
2933:
2918:
2900:
2894:
2876:
2857:
2839:
2821:
2803:
2785:
2767:
2747:
2729:
2711:
2693:
2673:
2658:
2633:
2616:Chariot Race
2615:
2597:
2579:
2561:
2546:
2526:
2506:
2491:
2476:
2458:Bashi-Bazouk
2456:
2439:Bashi-Bazouk
2438:
2418:
2398:
2380:
2361:
2353:
2335:
2318:
2300:
2285:
2270:
2252:
2234:
2219:
2199:
2181:
2166:
2148:
2130:
2110:
2065:
2050:
2035:
2022:Musée Massey
2017:
1998:
1980:
1959:
1946:Musée Ingres
1941:
1927:Petit Palais
1922:
1904:
1886:
1871:
1819:
1801:
1783:
1761:
1739:
1734:
1730:
1722:
1718:
1712:
1709:Academic art
1702:
1694:
1682:
1673:
1655:
1652:
1646:
1633:
1628:
1622:
1620:
1607:
1570:Mary Cassatt
1566:Odilon Redon
1563:
1553:
1546:Requiem Mass
1543:
1538:
1534:
1532:
1525:
1519:
1516:
1508:
1498:
1481:
1477:
1460:
1455:
1447:
1441:
1438:Émile Bayard
1435:
1413:
1406:
1405:
1397:
1379:
1362:
1358:
1345:
1340:
1338:
1332:
1327:
1323:
1319:
1317:
1308:
1296:
1290:
1283:
1274:
1266:
1251:
1240:
1225:
1214:
1181:
1168:
1162:
1148:
1142:
1118:
1114:
1111:
1106:
1105:(1898), and
1102:
1098:
1096:
1087:
1083:
1077:
1069:duc d'Aumale
1062:
1060:
1051:
1045:
1040:
1026:
1015:
1010:Gérôme with
993:
992:(1890), and
989:
983:
979:
975:
969:
964:
960:
946:
942:
927:
925:
918:
899:
897:
888:
871:
870:
823:
816:
797:
793:
773:
762:
746:
713:
708:
704:
688:
682:
678:
674:
672:
667:
661:
650:
634:, is in the
629:
618:duc d'Aumale
613:
609:
605:
601:
595:
591:
582:
567:
563:
557:
555:
543:
534:genre scenes
515:
505:
490:
486:
482:
478:
472:
463:
457:
430:
424:
411:Napoleon III
406:
404:
395:
380:
376:
372:
368:
364:
350:
345:
341:
338:Michelangelo
337:
329:
325:
323:
288:
286:
274:
263:Prix de Rome
235:, Rome, the
218:
167:
166:
98:(1904-01-10)
43:
5327:1904 deaths
5322:1824 births
5142: [
5055: [
5040: [
5017: [
4706:(in French)
4470:23 December
4268:26 November
4212:26 November
4110:28 November
4084:28 November
3089:, c. 1890,
3087:Hoop Dancer
2954:, c. 1888,
2936:, c. 1887,
2842:, c. 1884,
2824:, c. 1884,
2678:, c. 1879,
2301:The Muezzin
2204:, c. 1863,
1697:orientalism
1689:art history
1466: [
1389: [
1279:Emma Dupont
1155:Caillebotte
1048:John Gibson
1020:, c. 1885,
1012:Emma Dupont
972:Emma Dupont
780:thumbs down
681:(1859) and
622:Musée Condé
598:Paris Salon
548:, c. 1866,
497:Orientalism
433:George Sand
334:Paris Salon
303:Paris Salon
193:Orientalism
181:academicism
146:Orientalism
142:Academicism
81:11 May 1824
5311:Categories
5262:Sculptures
4541:9 December
4421:Allan 2010
3816:8 November
3709:0918098149
3576:Beeny 2010
3563:References
3523:Aimé Morot
2712:Cave Canem
2640:Versailles
1612:Aimé Morot
1499:La Douleur
1401:Democritus
1315:of 1890."
953:Louis XIII
854:Suez Canal
720:Aimé Morot
518:Grand Tour
415:Edmond Got
203:Early life
133:, teaching
77:1824-05-11
5218:Bathsheba
5099:Jerusalem
4998:Paintings
4148:Sotheby's
3778:16 August
3687:getty.edu
3026:, c. 1890
2362:Jerusalem
2066:At Prayer
1982:Gynaeceum
1614:, at the
1483:Mona Lisa
1363:Mona Lisa
1243:Pygmalion
1228:Pygmalion
1103:Tamerlane
1029:gladiator
1002:Sculpture
920:Gladiator
910:Colosseum
868:in 1895.
850:Compiègne
838:Wilhelm I
763:academie.
626:Chantilly
510:plein-air
479:Pifferaro
383:in 1853.
375:in 1851;
152:Signature
131:sculpture
109:Education
5037:Diogenes
3926:19 March
3901:19 March
3535:See also
3529:, Vesoul
3510:, Vesoul
3506:, 1902,
3490:, Vesoul
3471:, Vesoul
3467:, 1891,
3433:, 1886,
3322:, 1903,
3247:, Vesoul
3243:, 1897,
3210:, 1895,
3193:, Vesoul
3111:, 1895,
3006:, 1890,
2903:, 1886,
2858:The Bath
2806:, 1883,
2788:, 1883,
2770:, 1882,
2752:, 1882,
2714:, 1881,
2696:, 1880,
2643:, 1878,
2618:, 1876,
2600:, 1876,
2582:, 1876,
2564:, 1876,
2531:, 1871,
2511:, 1871,
2461:, 1869,
2423:, 1868,
2403:, 1867,
2383:, 1867,
2365:, 1867,
2355:Golgotha
2303:, 1866,
2237:, 1865,
2184:, 1863,
2151:, 1860,
2149:Diogenes
2133:, 1859,
2020:, 1858,
2005:, Vesoul
2001:, 1853,
1965:, 1849,
1944:, 1849,
1907:, 1848,
1889:, 1848,
1844:, London
1828:, Vesoul
1824:, 1847,
1505:, Vesoul
1501:, 1891,
1384:, 1896,
1269:, 1890,
1163:L'Éclair
1109:(1899).
1101:(1897),
1075:(1899).
1043:(1848).
998:(1890).
988:(1887),
982:(1886),
978:(1876),
957:Capuchin
948:de facto
891:, 1873,
655:, 1859,
530:Damascus
483:Shepherd
381:An Idyll
307:Neo-Grec
283:, Paris)
233:Florence
215:, France
138:Movement
127:Painting
5289:Related
5278:Tanagra
5270:Omphale
4944:. 1879.
4928:. 1906.
4619:. ACR.
4590:Sources
4516:1 March
4075:, 1890"
3842::
3117:Tanagra
2256:Smoking
1929:, Paris
1667:party,
1474:Moulins
1328:Tanagra
1324:Tanagra
1320:Tanagra
1309:Tanagra
1297:Tanagra
1281:, with
1275:Tanagra
1247:Galatea
1236:Tanagra
1232:Galatea
1216:Tanagra
1088:Bellona
1064:Omphale
1017:Omphale
995:Tanagra
985:Omphale
908:in the
846:Eugénie
581:, used
577:party,
473:To the
377:Paestum
279:(1846;
245:atelier
241:Pompeii
237:Vatican
5281:(1890)
5273:(1887)
5245:(1896)
5237:(1890)
5229:(1890)
5221:(1889)
5213:(1887)
5205:(1886)
5197:(1884)
5189:(1883)
5181:(1882)
5173:(1881)
5165:(1879)
5157:(1878)
5149:(1876)
5134:(1872)
5126:(1871)
5118:(1869)
5110:(1868)
5102:(1867)
5094:(1867)
5086:(1866)
5078:(1866)
5070:(1861)
5062:(1861)
5047:(1860)
5024:(1855)
5009:(1846)
4833:
4778:
4702:
4680:
4650:
4623:
4604:
4181:
4154:
3977:9 June
3836:
3707:
3228:, 1897
3155:, 1895
2899:, aka
2731:Arnaut
2288:, 1866
2258:, 1865
2254:Arnaut
2169:, 1861
2053:, 1857
1986:, 1850
1665:German
1649:(1876)
1596:, and
1560:Legacy
1084:Dancer
612:, and
575:German
522:Faiyum
485:, and
468:Ingres
427:, 1855
344:) and
299:Naples
221:Vesoul
213:Vesoul
85:Vesoul
5146:]
5059:]
5044:]
5021:]
4392:(PDF)
4071:, or
3742:(PDF)
2901:Œdipe
2879:Bursa
2068:,1858
1539:Truth
1535:Truth
1490:Death
1470:]
1393:]
1359:Truth
1313:Salon
1301:Tyche
1184:Manet
1176:Monet
1080:ivory
801:Salon
701:Salon
64:Nadar
4831:ISBN
4776:ISBN
4700:ISBN
4678:ISBN
4648:ISBN
4621:ISBN
4602:ISBN
4543:2019
4518:2020
4472:2019
4270:2019
4214:2019
4179:ISBN
4152:ISBN
4112:2019
4086:2019
4036:(1).
3979:2019
3928:2024
3903:2024
3818:2012
3780:2019
3705:ISBN
2359:aka
1707:and
1584:and
1486:.")
1230:and
1169:The
1117:and
707:and
695:and
687:and
451:and
443:and
328:and
313:and
239:and
93:Died
71:Born
4461:in
4300:287
3851:".
3348:at
2638:at
1721:or
1472:in
1440:'s
673:In
638:).
624:in
589:.)
355:to
247:of
5313::
5144:fr
5057:fr
5042:fr
5019:fr
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4922:.
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4748:.
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4676:.
4646:.
4577:.
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4509:.
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4440:.
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4146:.
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3970:.
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3863:^
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3727:^
3685:.
3667:.
3649:.
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1600:.
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3981:.
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3689:.
3671:.
3653:.
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170:(
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
