Lot Essay
When Breton arrived in Paris he quickly fell into the circles of Henner, Feyin-Perrin, Bonvin and Brion who were his classmates and neighbors. Many of these artists shared his interests in "realism", and with them Breton found support for his theories. His first Salon entry came in 1849 with Misère et déspoir. The following year he submitted La Faim, and in 1853, Le Retour de Moissonneurs, canvases which focused on his personal observations of rural life. Following his 1853 exhibition at the Salon, Breton returned to Courrières where he drew inspiration from its citizens. From then on, he divided his time between his hometown and Paris. His 1855 Salon entry The Gleaners earned him his first medal and, more importantly, drew the attention of the critics and artists such as Millet. Two years later, he received even greater acclaim at the Salon, and earned a second-class medal for a picture which was purchased by the State.
By the time Breton exhibited Le Petit Couturière in the Salon of 1859, his reputation was already firmly established. It was one of four paintings he exhibited that year, and all enjoyed prime placement. Indeed, even as the smallest of the group, it was purchased by the National Lottery Commission for 1500 Francs on April 20, 1859. The lottery system was established by the Government of the Second Empire to distribute art works to collectors and the painting probably passed to M. Tesse of Nîmes in this manner. The subject is reminiscent of sevententh century Dutch masters and the works of Chardin and Bouchardon which often featured lacemakers or seamstresses, but Breton has further dramatized the scene by isolating the figure and setting her in a stark interior. The model for the painting was Elodie Breton, who he had married in April 1858, and his choice of her as his subject underscores the realists' advocation of domestic virtues.
The Salon of 1859 was a seminal exhibition. It marked a turning point from history painting and classical subjects towards a more modern sensibility with genre scenes and landscapes taking prominence. The exhibition was held at the Palais de l'Industrie and there were 3,045 paintings accepted from 1,278 painters. Yet the jury was select, rejecting Millet's La Mort et le Bûcheron, Chaplin's Morning Star, and entirely dismissing Whistler's oils (though accepting his etchings), three Fantin-Latours and an oil by Manet. The critics were fierce in their remarks, but kind to Breton who they saw as confirming his early potential (see H. Loyrette, Origins of Impressionism, "The Salon of 1859", New York, 1994, p. 7). It can be said that the Salon of 1859 laid the ground work for the new direction in painting. While established masters such as Delacroix were shown, others who had heretofor not enjoyed acceptance in the Salon were exhibited for the first time, namely Degas and Pissaro. In the context of the 1859 Salon, Breton's painting can be seen as bridging these two generations of French painting.
Breton went on to exhibit at the Salon up until a year before his death. He was elected Chevalier de la Légion d'Honneur and was the first realist painter to be appointed to the Institute de France. His painting were collected not only by his compatriots, but also by American collectors. Later in life, Breton turned to writing (see lot ) and published several book which were also very well received.
By the time Breton exhibited Le Petit Couturière in the Salon of 1859, his reputation was already firmly established. It was one of four paintings he exhibited that year, and all enjoyed prime placement. Indeed, even as the smallest of the group, it was purchased by the National Lottery Commission for 1500 Francs on April 20, 1859. The lottery system was established by the Government of the Second Empire to distribute art works to collectors and the painting probably passed to M. Tesse of Nîmes in this manner. The subject is reminiscent of sevententh century Dutch masters and the works of Chardin and Bouchardon which often featured lacemakers or seamstresses, but Breton has further dramatized the scene by isolating the figure and setting her in a stark interior. The model for the painting was Elodie Breton, who he had married in April 1858, and his choice of her as his subject underscores the realists' advocation of domestic virtues.
The Salon of 1859 was a seminal exhibition. It marked a turning point from history painting and classical subjects towards a more modern sensibility with genre scenes and landscapes taking prominence. The exhibition was held at the Palais de l'Industrie and there were 3,045 paintings accepted from 1,278 painters. Yet the jury was select, rejecting Millet's La Mort et le Bûcheron, Chaplin's Morning Star, and entirely dismissing Whistler's oils (though accepting his etchings), three Fantin-Latours and an oil by Manet. The critics were fierce in their remarks, but kind to Breton who they saw as confirming his early potential (see H. Loyrette, Origins of Impressionism, "The Salon of 1859", New York, 1994, p. 7). It can be said that the Salon of 1859 laid the ground work for the new direction in painting. While established masters such as Delacroix were shown, others who had heretofor not enjoyed acceptance in the Salon were exhibited for the first time, namely Degas and Pissaro. In the context of the 1859 Salon, Breton's painting can be seen as bridging these two generations of French painting.
Breton went on to exhibit at the Salon up until a year before his death. He was elected Chevalier de la Légion d'Honneur and was the first realist painter to be appointed to the Institute de France. His painting were collected not only by his compatriots, but also by American collectors. Later in life, Breton turned to writing (see lot ) and published several book which were also very well received.