Gids voor studentenkunst
Copyright Dit werk bevindt zich in het publiek domein. Antoine Vollon overleed in 1900; het auteursrecht blijft 70 jaar na de dood van de kunstenaar van kracht, waardoor dit in 1970 is verlopen.
In context
The painter's monkey — Antoine Vollon
Bovenste rij: de jaren. Onderste rij: de leeftijd van de kunstenaar aan het begin en het einde van elke periode — 0 bij de geboorte, 67 bij het overlijden.
Shaded: het leven van Antoine Vollon (1833–1900) elk gedateerd schilderij, decennium voor decennium
Voor deze opname is geen exacte datum bekend — uitgaande van de levensloop van de artiest en de stijl van het werk, in welk decennium zou u dit plaatsen?
Kies een van de bovenstaande werken: noem twee overeenkomsten met dit werk en één verschil.
Meer werken om naast dit werk te plaatsen: topimpressionists.com/nl/art/similar/antoine-vollon-the-painter-s-monkey-9HTLXX-en/
Gemeten op basis van de afbeelding
Hoofdkleur
Black #150f08
Gecatalogiseerd palet
Deze kleuren binnen het volledige palet van de kunstenaar Zoek andere schilderijen op kleur
De tien belangrijkste landen
Zoek de drie donkerste landen op de kaart. Bevindt het museum waar dit schilderij wordt bewaard zich in een van deze landen? Noteer één reden waarom mensen van ver zouden kunnen komen om het te bekijken.
Samen maken deze werken 100,0% uit van alle aandacht die de schilderijen van deze kunstenaar in de afgelopen twaalf maanden hebben gekregen. De catalogus bevat 30 werken van deze kunstenaar, waarvan 10 minstens één keer zijn bekeken. Dit schilderij heeft in die periode nog geen weergaven — het sluit de lijst af zonder rangorde. Hetzelfde geldt voor elke maand
Staven meten aandacht, niet kwaliteit. Kies het werk bovenaan en dit werk: noem één ding dat een schilderij beroemd zou kunnen maken, los van hoe goed het geschilderd is.
Kunstenaar en museum
Geboren in Lyon, France
Antoine Vollon, a name perhaps less immediately recognizable than some of his contemporaries, occupies a fascinating and significant niche within the landscape of 19th-century French painting. Born in Lyon in 1833, Vollon’s artistic journey was one of dedicated craftsmanship and a persistent pursuit of capturing the tangible world around him. His father, an ornamental craftsman, instilled in him an appreciation for texture and detail – qualities that would become hallmarks of his mature style. Initially apprenticed to an engraver, young Antoine also gained practical experience decorating enamelled pans and stoves, a seemingly humble beginning that nonetheless honed his skills in manipulating light and surface. This early exposure to applied arts proved invaluable, laying the groundwork for his later mastery of still life compositions. Though he formally studied at the École des Beaux-Arts in Lyon under Jehan Georges Vibert, much of Vollon’s initial artistic development was self-directed, fueled by an innate talent and a burgeoning passion for painting.
The pivotal moment in Vollon's career arrived with his relocation to Paris in 1859. The vibrant artistic atmosphere of the capital proved transformative. He quickly sought guidance from Théodule Ribot, a prominent figure in the realist movement, and immersed himself in the study of 17th-century Dutch still life masters. This influence is readily apparent in Vollon’s meticulous attention to detail, his rich color palettes, and his ability to imbue everyday objects with a sense of weight and presence. Paris also introduced him to a stimulating social circle that included literary giants like Alexandre Dumas and fellow artists such as Honoré Daumier and Charles-François Daubigny. These interactions fostered a dynamic exchange of ideas and further solidified Vollon’s commitment to representing the world as he observed it, without idealization or romantic embellishment. He wasn't merely copying reality; he was interpreting it through his unique sensibility, seeking beauty in the commonplace.
Vollon ambitiously extended his artistic scope beyond still lifes, a genre often relegated to lower status within the rigid hierarchy of the Parisian Salon system. He aspired to create compelling figure paintings, and achieved significant success with Femme du Pollet à Dieppe (Seine-Inferieure) in 1876, winning first prize at the prestigious Salon. However, this triumph was met with a famously dismissive critique from Édouard Manet, who likened the painting to “a basket that walks.” While undoubtedly stinging, this remark didn’t deter Vollon; instead, it seemed to reinforce his dedication to his chosen path. He continued to refine his technique, focusing on capturing the subtle nuances of light and texture, and building a reputation for meticulous craftsmanship. Throughout his career, Vollon garnered numerous accolades – third-class, second-class, and first-class medals at the Salon in 1865, 1868, and 1869 respectively – demonstrating consistent recognition from his peers and the art establishment. He served as a member of the Salon’s jury for ten years beginning in 1870, further solidifying his position within the French art world. His contributions were also formally acknowledged with appointments as a Chevalier and later an Officer of the Legion of Honor, culminating in his election to the Académie des Beaux-Arts in 1897 – a testament to his enduring influence and artistic merit.
Antoine Vollon’s impact extended beyond his own paintings; he was also a dedicated teacher, nurturing the talents of several aspiring artists including Raymond Allègre, Joseph Garibaldi, Henri Michel-Lévy, Théo Mayan, and Gustave le Sénéchal de Kerdréoret. His son, Alexis Vollon, followed in his footsteps, continuing the family’s artistic legacy. Today, Vollon is remembered not only through his artwork but also through geographical tributes – streets bearing his name in Bessancourt and Paris, and an intersection with a fountain dedicated to him in Lyon. While perhaps overshadowed by some of the more radical innovators of his time, a retrospective exhibition at PaceWildenstein in New York in 2004 sparked renewed interest in his work, prompting critics to acknowledge the sensuous quality of his paintings and recognize his unique contribution to French Realism. Vollon’s works – such as *Mound of Butter (1885), Still Life of a Basket with Fruits, and Still Life with Cheese* (1870) – continue to captivate viewers with their luminous surfaces, masterful compositions, and enduring celebration of the beauty found in everyday life. He remains a painter’s painter, admired for his technical skill and unwavering dedication to capturing the essence of the visible world.
topimpressionists.com/nl/art/download/antoine-vollon-the-painter-s-monkey-9HTLXX-en/
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The painter's monkey — Antoine Vollon
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Het formaat van "The painter's monkey" is Portrait. Dit is handig bij het plannen van de plek waar een reproductie zal worden geplaatst.
De kleurcompositie van "The painter's monkey" door Antoine Vollon combineert een Serene contrast met een Strong Color Unity harmonie.
"The painter's monkey" door Antoine Vollon valt onder bevindt zich in het publiek domein - de auteursrechten zijn verlopen. Deze status bepaalt hoe de afbeelding van het werk mag worden gereproduceerd.