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拍品专文
AS A YOUNG MAN CHARLES-EMILE JACQUE SERVED AN APPRENTICESHIP TO AN ENGRAVER OF MAPS, LATER COMPLETING HIS STUDIES IN ENGLAND AFTER SIX MONTHS NATIONAL SERVICE. ON HIS RETURN TO FRANCE HE EARNED A LIVING AS AN ILLUSTRATOR, DESIGNING VIGNETTES FOR LITERARY WORKS, AND GAINING A REPUTATION AS AN ETCHER. IN 1845, THE YEAR HE FIRST EXHIBITED AT THE SALON, HE MET JEAN-FRANOIS MILLET AND, WHEN AN OUTBREAK OF CHOLERA DROVE THEM FROM PARIS, BOTH DECIDED TO MOVE WITH THEIR FAMILIES TO BARBIZON. THERE JACQUE CONTINUED THE ARTISTIC EXPLORATION OF RURAL COUNTRYSIDE THAT HE HAD BEGUN A FEW YEARS PREVIOUSLY IN BURGUNDY, WHERE HIS FAMILY HAD SETTLED. HE SHARED A STUDIO WITH HIS NEW NEIGHBOUR MILLET AND THE TWO OF THEM WOULD GO OUT INTO THE WOODS OF BARBIZON AND PAINT TOGETHER FOR HOURS.
DURING THIS TIME, WHILE MILLET PAINTED LANDSCAPES, JACQUE DEVOTED HIMSELF TO ANIMAL STUDIES FOR WHICH HE FOUND AN ENORMOUS, AND LUCRATIVE, MARKET. THROWING HIMSELF HEADLONG INTO THE RURAL LIFESTYLE, HE BEGAN TO BREED HENS AND EVEN WROTE A BOOK ON DOMESTIC AND EXOTIC SPECIES, ALTHOUGH, WHEN THIS FAD WORE OFF, HE SOLD ALL OF HIS PRIZE POULTRY AND TURNED HIS ATTENTION, ARTISTICALLY AT LEAST, TO SHEEP. AT THE SALON OF 1861 THE CRITIC ALFRED NETTEMENT COMMENTED 'CES MOUTONS SONT DE VRAIS MOUTONS. VOUS LES AVEZ RENCONTRéS DANS LA PLAINE, TRISTES ET SALES, AVEC L'AIR TRANQUILLE ET HéBéTé...NOUS SOMMES LOIN DES BERGERIES DE FLORIAN' (QUOTED IN G. SCHURR AND P. CABANNE, DICTIONNAIRE DES PETITS MAîTRES DE LA PEINTURE 1820-1920, VOL. II, PARIS, 1996, P. 17).
JACQUE PAINTED ANOTHER, LARGER VERSION OF THE PRESENT WORK IN 1860 WHICH WAS EXHIBITED AT THE SALON IN 1861 (NO. 1613) AND WHICH IS NOW IN THE MUSéE D'ORSAY, PARIS. FROM 1870 JACQUE CEASED TO EXHIBIT AT THE SALON BUT RETURNED EIGHTEEN YEARS LATER. 'SA RENTRéE EN 1888 FUT D'AILLEURS L'OCCASION D'UN VéRITABLE TRIOMPHE AVEC LE GRAND TROUPEAU [SALON 1888, NO. 1343], UNE DE SES TOILES LES PLUS MAGISTRALES' (E. BéNéZIT, DICTIONNAIRE DES PEINTRES, SCULPTEURS, DESSINATEURS ET GRAVURES, VOL. VI, PARIS, 1976, P. 9). THIS PAINTING MAY INDEED BE THE PRESENT WORK. JACQUE IMBUES HIS CANVAS WITH ALL THE POETRY AND SOMBRE SINCERITY THAT PROVIDES SUCH A CONCISE SUMMARY OF THE BARBIZON SCHOOL.
ERIC CHAMBON HAS KINDLY CONFIRMED THE AUTHENTICITY OF THIS WORK.
DURING THIS TIME, WHILE MILLET PAINTED LANDSCAPES, JACQUE DEVOTED HIMSELF TO ANIMAL STUDIES FOR WHICH HE FOUND AN ENORMOUS, AND LUCRATIVE, MARKET. THROWING HIMSELF HEADLONG INTO THE RURAL LIFESTYLE, HE BEGAN TO BREED HENS AND EVEN WROTE A BOOK ON DOMESTIC AND EXOTIC SPECIES, ALTHOUGH, WHEN THIS FAD WORE OFF, HE SOLD ALL OF HIS PRIZE POULTRY AND TURNED HIS ATTENTION, ARTISTICALLY AT LEAST, TO SHEEP. AT THE SALON OF 1861 THE CRITIC ALFRED NETTEMENT COMMENTED 'CES MOUTONS SONT DE VRAIS MOUTONS. VOUS LES AVEZ RENCONTRéS DANS LA PLAINE, TRISTES ET SALES, AVEC L'AIR TRANQUILLE ET HéBéTé...NOUS SOMMES LOIN DES BERGERIES DE FLORIAN' (QUOTED IN G. SCHURR AND P. CABANNE, DICTIONNAIRE DES PETITS MAîTRES DE LA PEINTURE 1820-1920, VOL. II, PARIS, 1996, P. 17).
JACQUE PAINTED ANOTHER, LARGER VERSION OF THE PRESENT WORK IN 1860 WHICH WAS EXHIBITED AT THE SALON IN 1861 (NO. 1613) AND WHICH IS NOW IN THE MUSéE D'ORSAY, PARIS. FROM 1870 JACQUE CEASED TO EXHIBIT AT THE SALON BUT RETURNED EIGHTEEN YEARS LATER. 'SA RENTRéE EN 1888 FUT D'AILLEURS L'OCCASION D'UN VéRITABLE TRIOMPHE AVEC LE GRAND TROUPEAU [SALON 1888, NO. 1343], UNE DE SES TOILES LES PLUS MAGISTRALES' (E. BéNéZIT, DICTIONNAIRE DES PEINTRES, SCULPTEURS, DESSINATEURS ET GRAVURES, VOL. VI, PARIS, 1976, P. 9). THIS PAINTING MAY INDEED BE THE PRESENT WORK. JACQUE IMBUES HIS CANVAS WITH ALL THE POETRY AND SOMBRE SINCERITY THAT PROVIDES SUCH A CONCISE SUMMARY OF THE BARBIZON SCHOOL.
ERIC CHAMBON HAS KINDLY CONFIRMED THE AUTHENTICITY OF THIS WORK.