亚力山大加布里埃叛逃Alexandre-Gabriel Decamps(1803年3月3日- 1860年8月22日)是一位法国画家。他年轻时在东方旅行,再现东方生活和大胆的忠诚自然风光,困惑的传统批评。
叛逃出生在巴黎。他年轻时在东方旅行,再现东方生活和大胆的忠诚自然风光,困惑的传统批评。他的权力,但是,很快就被认可,他排在一起德拉克洛瓦和安格尔是法国学校的领导人之一。在1855年巴黎展览他收到了大或理事会奖章。的大部分生活在巴黎附近的通过。他喜欢动物,特别是狗,沉迷于各种各样的野外运动。
他死于1860年的结果从马打猎时抛出枫丹白露.
叛逃是东方式的国父自从他发现东方日常生活在1831年在巴黎沙龙。他的主题和风格和强烈的对比成为画家的参考光和厚的材料也是摄影师和作家。他是东方式的最有影响力的画家,并宣布新东方学院的首席。德拉克洛瓦称他在阿尔及尔的妇女(1834),和丹吉尔的狂热者(1838)。讯息Gautier君士坦丁堡(1853)被形容为一个“巨大的口头叛逃”亨利·詹姆斯。马克西姆Du营地给他起名叫克里斯托弗·哥伦布的东方和讯息Gautier相比他的角色的发现者东方的作用让·雅克·卢梭的自然的发现者在十八世纪。[5]克里斯汀Peltre认为唯一的相当于他的名声是《天方夜谭》(一千零一天)。
叛逃的风格是典型的和强烈的法语。以生动的戏剧观念,大胆的甚至粗糙的笔触,和惊人的颜色和明暗的对比。他的臣民接受异常广泛。他利用了他的旅行在东部在处理场景圣经的历史,他可能是第一个欧洲画家代表自己的真实和自然当地背景。这个类的他约瑟夫出售的弟兄,摩西从尼罗河,和他的生活的场景参孙九个有力的草图,木炭和白色。
土耳其巡逻(1831)的一个版本
也许最令人印象深刻的历史图片是辛布里人的失败,代表着野蛮人的部落之间的冲突和一个训练有素的军队。叛逃出许多类型的图片,主要从法国和土耳其家庭生活场景,最显著的特点是幽默。相同的特征高度他的许多许多动物画;叛逃特别喜欢画的猴子。他的著名绘画的猴子鉴赏家讽刺陪审团法国绘画学院,拒绝了他的一些早期作品因分歧从任何已知的标准。
他的油画和素描是第一次熟悉英语公共的石版画尤金·勒Rouit.
Decamps was born in Paris. In his youth he travelled in the East, and reproduced Oriental life and scenery with a bold fidelity to nature that puzzled conventional critics. His powers, however, soon came to be recognized, and he was ranked along with Delacroix and Ingres as one of the leaders of the French school. At the Paris Exhibition of 1855 he received the grand or council medal. Most of his life was passed in the neighborhood of Paris. He was fond of animals, especially dogs, and indulged in all kinds of field sports.
He died in 1860 in consequence of being thrown from a horse while hunting at Fontainebleau.
Decamps was the founding father of Orientalism since he revealed everyday Oriental life in the 1831 Salon in Paris. His subjects and style with strong contrast of light and thick material became the reference for painters but also photographers and writers. He was the most influential painter on Orientalism and was proclaimed the chief of the new Orientalist School.[2] Delacroix referred to him in the Women of Algiers (1834), and the Fanatics of Tangiers (1838). Théophile Gautier’s Constantinople (1853) was described as an “immense verbal Decamps” by Henry James.[3] Maxime Du Camp named him the Christopher Columbus of the Orient and Théophile Gautier compared his role as the discoverer of the Orient to the role of Jean-Jacques Rousseau as the discoverer of nature in the eighteenth century.[5] Christine Peltre concludes that the only equivalent to his fame were the Arabian Nights (One Thousand and One Nights).
Decamps' style was characteristically and intensely French. It was marked by vivid dramatic conception, bold and even rough brushstrokes, and startling contrasts of color and of light and shade. His subjects embraced an unusually wide range. He availed himself of his travels in the East in dealing with scenes from Scripture history, which he was probably the first of European painters to represent with their true and natural local background. Of this class were his Joseph sold by his Brethren, Moses taken from the Nile, and his scenes from the life of Samson, nine vigorous sketches in charcoal and white.
Perhaps the most impressive of his historical pictures is Defeat of the Cimbri, representing the conflict between a horde of barbarians and a disciplined army. Decamps produced a number of genre pictures, chiefly scenes from French and Turkish domestic life, the most marked feature of which is humour. The same characteristic attaches to many of his numerous animal paintings; Decamps was especially fond of painting monkeys. His well-known painting The Monkey Connoisseurs satirizes the jury of the French Academy of Painting, which had rejected several of his earlier works on account of their divergence from any known standard.
His paintings and drawings were first made familiar to the English public through the lithographs of Eugene le Rouit.
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