GENERAL DESCRIPTION
The engraver and painter Charles-François Daubigny came from an artistic family—his father, Edmond-François Daubigny, was his first teacher. Copying the landscapes of Jacob van Ruisdael and Nicolas Poussin at the Musée du Louvre was also a crucial component of his early training. In 1840 he received formal art training with Paul Delaroche, who also taught Jean-François Millet. During the late 1830s and throughout the 1840s, Daubigny produced mainly woodcuts and engravings, as both independent works and illustrations for books and magazines. Though he executed an engraving of a modern, mechanized machine à battre le blé (threshing machine) for the Société du Progrès pour l’Art Industriel, he never included signs of the industrialization of agriculture in his landscape paintings.
After cementing his reputation as a graphic artist with a medal at the Salon of 1848 and receiving a government commission to produce an etching after Claude Lorrain, Daubigny began to focus his attention on painting. He traveled widely with his friend and fellow artist Jean-Baptiste Corot, painting the landscapes of France and Switzerland. In order to facilitate his plein-air painting, Daubigny converted a boat, Le Botin, into a permanent home and mobile studio, which he lived and worked on until his death in 1878. In 1857 Breton joined him on the rivers of France in search of suitable subjects. Unlike his predecessors, Daubigny took an interest in the transitoriness of nature and the atmosphere and attempted to capture it through his light and rapid brush strokes. While some critiqued his lack of finish, others, such as Claude Monet and Camille Pissarro, were inspired by both his style and his method of plein-air painting in their development of the radical innovations of impressionism. As a member of the Salon jury in the 1860s, Daubigny supported the work of such avant-garde artists as Paul Cézanne, Camille Pissarro, and Auguste Renoir. Vincent van Gogh admired Daubigny’s work a great deal: he wrote to his brother Theo on several occasions commenting on his respect for the older painter’s work. One of Van Gogh’s final paintings before his death in 1890 was of Daubigny’s garden in the village of Auvers. Daubigny died in Paris in 1878.
Adapted from
Dorothy Kosinski, Van Gogh's Sheaves of Wheat (Dallas, TX: Dallas Museum of Art, 2006), 104.
NOTES
deleted TMS tag for 1981.102 during 2015-2016 revision process
See Madeleine Fidell-Beaufort and Janine Bailly-Herzberg, Daubigny (Paris: Éditions Geoffroy-Dechaume, 1975).
Education file, quotes relating to plein air:
Origins of plein air painting:
Charles Francois Daubigny, an artist of the Barbizon school, was determined to confront nature in the raw. He built leaning huts to shelter himself from the elements as he painted in the open air. In 1857, he even built himself a studio boat on which he could live and work. Following Daubigny's example, Monet had a floating studio built when he lived by the Seine River at Argenteuil in the 1870s. Daubigny was among the first to consider his paintings from nature finished enough to exhibit. Significantly, he was criticized for "being satisfied with an impression."
-Jude Welton, Impressionism, p. 13
IMAGE ASSETS
265931605: UMO. [Caption]Charles-François Daubigny. Source: Nadar, or Gaspard-Félix Tournachon, Wikimedia Commons, accessed July 15, 2016.
WEB RESOURCES
- Van Gogh Museum, Amsterdam~Learn more about the connection between Vincent van Gogh and Charles Daubigny.
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General Description
The engraver and painter Charles-François Daubigny came from an artistic family—his father, Edmond-François Daubigny, was his first teacher. Copying the landscapes of Jacob van Ruisdael and Nicolas Poussin at the Musée du Louvre was also a crucial component of his early training. In 1840 he received formal art training with Paul Delaroche, who also taught Jean-François Millet. During the late 1830s and throughout the 1840s, Daubigny produced mainly woodcuts and engravings, as both independent works and illustrations for books and magazines. Though he executed an engraving of a modern, mechanized machine à battre le blé (threshing machine) for the Société du Progrès pour l’Art Industriel, he never included signs of the industrialization of agriculture in his landscape paintings.
After cementing his reputation as a graphic artist with a medal at the Salon of 1848 and receiving a government commission to produce an etching after Claude Lorrain, Daubigny began to focus his attention on painting. He traveled widely with his friend and fellow artist Jean-Baptiste Corot, painting the landscapes of France and Switzerland. In order to facilitate his plein-air painting, Daubigny converted a boat, Le Botin, into a permanent home and mobile studio, which he lived and worked on until his death in 1878. In 1857 Breton joined him on the rivers of France in search of suitable subjects. Unlike his predecessors, Daubigny took an interest in the transitoriness of nature and the atmosphere and attempted to capture it through his light and rapid brush strokes. While some critiqued his lack of finish, others, such as Claude Monet and Camille Pissarro, were inspired by both his style and his method of plein-air painting in their development of the radical innovations of impressionism. As a member of the Salon jury in the 1860s, Daubigny supported the work of such avant-garde artists as Paul Cézanne, Camille Pissarro, and Auguste Renoir. Vincent van Gogh admired Daubigny’s work a great deal: he wrote to his brother Theo on several occasions commenting on his respect for the older painter’s work. One of Van Gogh’s final paintings before his death in 1890 was of Daubigny’s garden in the village of Auvers. Daubigny died in Paris in 1878.
Adapted from
Dorothy Kosinski, Van Gogh's Sheaves of Wheat (Dallas, TX: Dallas Museum of Art, 2006), 104.
Fun Facts
Archival Resources
Web Resources
- Van Gogh Museum, Amsterdam~Learn more about the connection between Vincent van Gogh and Charles Daubigny.
Notes
deleted TMS tag for 1981.102 during 2015-2016 revision process
See Madeleine Fidell-Beaufort and Janine Bailly-Herzberg, Daubigny (Paris: Éditions Geoffroy-Dechaume, 1975).
Education file, quotes relating to plein air:
Origins of plein air painting:
Charles Francois Daubigny, an artist of the Barbizon school, was determined to confront nature in the raw. He built leaning huts to shelter himself from the elements as he painted in the open air. In 1857, he even built himself a studio boat on which he could live and work. Following Daubigny's example, Monet had a floating studio built when he lived by the Seine River at Argenteuil in the 1870s. Daubigny was among the first to consider his paintings from nature finished enough to exhibit. Significantly, he was criticized for "being satisfied with an impression."
-Jude Welton, Impressionism, p. 13
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