Medal Charles-François Artist Le Bottin Boat Workshop Floating

Description

176-tir31
Bronze medal from the Monnaie de Paris (cornucopia hallmark after 1880).
Struck in 1967.
Beautiful copy.
Engraver / Artist
: Jacques Hardy.
Dimension
: 68 mm.
Weight
: 183 g.
Metal
: bronze.
Hallmark on the edge
: cornucopia + bronze + 1967.
Quick and neat delivery.
The easel is not for sale.
The stand is not for sale.
Charles-François Daubigny, born February 15, 1817 in Paris where he died February 19, 1878, is a French painter and engraver. Attached to the Barbizon school, he is considered one of the pivotal painters between the Romantic movement and Impressionism. Coming from a family of painters, Charles-François Daubigny was very early introduced to this art by his father, Edmé-François Daubigny, and his uncle, the miniaturist Pierre Daubigny. He is also the pupil of Jean-Victor Bertin, Jacques Raymond Brascassat and Paul Delaroche, from whom he will quickly emancipate himself.
In 1838, he formed, rue des Amandiers-Popincourt2, a community of artists, a phalanstère, with Geoffroy-Dechaume, Lavoignat, Meissonnier, Steinheil, Trimolet, with whom he already expressed his interest in subjects drawn from everyday life and of nature. These artists will work among others for the publisher Léon Curmer, who specializes in the illustrated book of vignettes2. From this period date the first affirmed engravings by Daubigny.
His first stay in 1843 in Barbizon, rue Grande where the hotel Les Pléiades is located, allows him to work in the heart of nature and changes his way of painting: not far from Paris, the forest of Fontainebleau had become in 1822 for Camille Corot, a source of inspiration. For these artists staying around Barbizon is privileged the observation of nature, the landscape as real subject and, in imitation of their English contemporaries (who had marked the Paris Salon of 1824), they choose to paint on the motif by placing their easel in front of the raw elements with which they are imbued: leaving the confined workshop becomes easier thanks to the invention of the gouache tube in 1841 and of the train, and this very informal “school” is in reality the crucible of a new way of representing the contemporary landscape 3. Daubigny met Camille Corot in 1852: on his boat (baptized Le Botin) which he had converted into a painting studio, he painted following the course of the Seine and the Oise, in particular in the Auvers-sur region. -Oise. Another major meeting, which undoubtedly occurred earlier, is that with Gustave Courbet. The two artists are of the same generation and are carried by the realistic movement: during a stay together, they each compose a series of views of Optevoz.
In 1848, he worked for the Chalcographie du Louvre, making facsimiles, which testifies to his great expertise in this art, and revisits the aquatint technique in a less cumbersome process. His famous series of rolling carts dates from this period. In 1862, with Corot, he experimented with the cliché-verre technique, halfway between photography and printmaking2.
In 1864, he was one of the first exhibitors at the Salon de la Société nationale des beaux-arts4.
In 1866, he joined the Paris Salon jury for the first time alongside his friend Corot: with Courbet, they savored the scandalous success of La Femme au parroquet. The same year, Daubigny visited England and went there again in 1870, in exile, because of the Franco-Prussian war. He meets Claude Monet in London, with whom he leaves for the Netherlands. Back in Auvers, he met Paul Cézanne and other painters who were linked to the Impressionists. It aroused the admiration of Vincent Van Gogh who painted Le Jardin de Daubigny in 1890, one of his last paintings in Auvers-sur-Oise.
He is the father of the painter Karl Daubigny, born in Paris in 1846 and died in Auvers-sur-Oise in 1886.
Charles-François Daubigny is buried in Paris in the Père-Lachaise cemetery (division 24).
Artwork
Charles-François Daubigny's most striking paintings are those produced between 1864 and 1874, which depict, for the most part, forest landscapes and lakes. Disappointed to see his most successful paintings fail to meet the success and understanding of his contemporaries, he was despite this, at the end of his career, an extremely sought-after and appreciated artist. The patterns of his canvases, sometimes tending to repetitiveness and often playing on the horizontality of the landscape underlined by a backlighting effect, will be taken up and accentuated by Hippolyte Camille Delpy, the most influenced of his students.
He produced 127 etchings and some lithographs2.
Today we remember the fact that Daubigny, like Courbet, could count among the influences of a new generation of artists grouped together under the name of a current, Impressionism. As an obtuse critic of the Salon, Théophile Gautier wrote in 1861 that “it is really a pity that M. Daubigny, this landscape painter with a feeling so true, so just and so natural, is satisfied with a first impression and neglects to this point the details. His paintings are no more than sketches, and little advanced sketches. […] It is therefore to a system that we must attribute this loose manner, which we believe dangerous for the future of the painter if it does not
We remember today
His first stay in 1843 in Barbizon, rue Grande where the hotel Les Pléiades is located, allows him to work in the heart of nature and changes his way of painting: not far from Paris, the forest of Fontainebleau had become in 1822 for Camille Corot, a source of inspiration. For these artists staying around Barbizon is privileged the observation of nature, the landscape as real subject and, in imitation of their English contemporaries (who had marked the Paris Salon of 1824), they choose to paint on the motif by placing their easel in front of the raw elements with which they are imbued: leaving the confined workshop becomes easier thanks to the invention of the gouache tube in 1841 and of the train, and this very informal “school” is in reality the crucible of a new way of representing the