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Trouillebert never confined himself to any single genre. He was a skilled at portraits, landscapes, still-lifes and other subject matter.<ref>Édouard-Joseph, ”Dictionnaire Biographique des Artistes Contemporains: 1910-1930,” Paris:, Libraire Grund, 1934, pp 353-354</ref> He was also interested in [[orientalism|Orientalist themes]] and produced paintings of Eastern nudes. He painted a portrait of a half-nude young woman in an ancient Egyptian style of the [[Greco-Roman Dynasty]]. He called it ”Servante du harem” (”The Harem Servant Girl”). In 1884, his painting of nudes, ”The Bathers” was well received by the [[Paris Salon]]. |
Trouillebert never confined himself to any single genre. He was a skilled at portraits, landscapes, still-lifes and other subject matter.<ref>Édouard-Joseph, ”Dictionnaire Biographique des Artistes Contemporains: 1910-1930,” Paris:, Libraire Grund, 1934, pp 353-354</ref> He was also interested in [[orientalism|Orientalist themes]] and produced paintings of Eastern nudes. He painted a portrait of a half-nude young woman in an ancient Egyptian style of the [[Greco-Roman Dynasty]]. He called it ”Servante du harem” (”The Harem Servant Girl”). In 1884, his painting of nudes, ”The Bathers” was well received by the [[Paris Salon]]. |
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Trouillebert pre-arranged a posthumous exhibition and sale of a collection of his works that were still in his possession, which took place in 1901 at the Galerie des Artistes Modernes, Paris, from March 18-30. The artist’s friend Charles Chincholle wrote a forward to the catalogue, in which he noted the artist’s habit of retaining some works for his own works and sometimes making personal version of his favourites: |
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“What should matter to a painter,” he often said, “is to paint.” And, when he had painted more than the canvas intended for his friend, he would hasten to back, like an old collector, to hide in a drawer where he had no access, the second painting of which he was particularly fond.<ref>https://upload.wikimedia.org/wikipedia/commons/9/95/Tableaux_par_feu_Trouillebert_-_exposition_du_18_au_30_mars_1901%2C_Galerie_des_Artistes_modernes_-_Paris%2C_1901_%28IA_tableauxparfeutr00trou%29.pdf</ref> |
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== Bibliography == |
== Bibliography == |
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Latest revision as of 02:55, 14 December 2025
French painter
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Paul Trouillebert |
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Paul Trouillebert, circa 1895 |
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| Born |
Paul Désiré Trouillebert 1831 Paris, France |
| Died | 28 June 1900 (aged 68–69)
Ebenda |
| Education | Ernest Hébert and Charles Jalabert |
| Known for | Painter, draughtsman, sculptor and print-maker |
| Movement | Orientalist; Genre painter; Barbizon school |
Paul Désiré Trouillebert (1829 in Paris, France – 28 June 1900 in Paris, France) was a famous French Barbizon School painter in the mid-nineteenth and the early twentieth centuries.
Trouillebert is considered a portrait, and a genre and landscape painter from the French Barbizon School. He was a student of Ernest Hébert (1817–1908) and Charles Jalabert (1819–1901). He made his debut at the Salon of 1865, at the age of 36, and between 1865 and 1872, he exhibited at least one portrait at the Salon.
By the 1860s, his interests were shifting towards landscape painting. At the Salon of 1869, he exhibited Au Bois Rossignolet, a landscape painting that was more aligned with his interest in landscapes and received critical acclaim for it. He went on to execute many landscapes that are very close to Corot‘s late manner of painting.[1] Indeed, the artist first came to public attention when one of his landscapes was sold to Alexandre Dumas’s son as a work by Corot in a celebrated forgery incident.[2] In order to increase the sale value of the work, Trouillebert’s signature had been erased and replaced with Corot’s signature.[3] In reality, while Trouillebert’s landscapes are very similar to Corot, they exhibit their own distinct style.
Trouillebert never confined himself to any single genre. He was a skilled at portraits, landscapes, still-lifes and other subject matter.[4] He was also interested in Orientalist themes and produced paintings of Eastern nudes. He painted a portrait of a half-nude young woman in an ancient Egyptian style of the Greco-Roman Dynasty. He called it Servante du harem (The Harem Servant Girl). In 1884, his painting of nudes, The Bathers was well received by the Paris Salon.
Trouillebert pre-arranged a posthumous exhibition and sale of a collection of his works that were still in his possession, which took place in 1901 at the Galerie des Artistes Modernes, Paris, from March 18-30. The artist’s friend Charles Chincholle wrote a forward to the catalogue, in which he noted the artist’s habit of retaining some works for his own works and sometimes making personal version of his favourites:
“What should matter to a painter,” he often said, “is to paint.” And, when he had painted more than the canvas intended for his friend, he would hasten to back, like an old collector, to hide in a drawer where he had no access, the second painting of which he was particularly fond.[5]
- Claude Marumo, Thomas Maier et Bernd Mullerschon, Paul Désiré Trouillebert (1831-1900), [catalogue raisonné], Stuttgart, 2004, 635 p., 1 200 ill. (ISBN 3-935252-02-1).[6]
- Cleopatra & the Dying Messenger, Lightner Museum, St. Augustine, Florida, 1873.
- Servante du harem (The Harem Servant Girl), 1874
- Femme en robe bleue rêvant. Private collection
- Chemin au bord du lac de Nantua, Galerie Gary-Roche
- Deux lavanderies sous les bouleaux, Van Ham Fine Art Auctions (Van Ham Kunstauktionen)
- La Gardienne de Troupeau, Frances Aronson Fine Art, LLC
- Le Loir et la Flêche, Stoppenbach & Delestre
- Le Pêcheur et le Bateau, Daphne Alazraki
- Mme. Trouillebert, The Darvish Collection, Inc.
- Au Bord de La Loire à Montsoreau
- Diana Chasseresse (Diana the Huntress), private collection.
- ^ Bury, A., “In the Galleries,” Connoisseur, Vol. 161, 1966, p. 256
- ^ “Paul Trouillebert” [Biographical Notes], REHS Galleries, Online: http://www.rehs.com/Paul_Desire_Trouillebert_Bio.html
- ^ Spencer, R.D., The Expert Versus the Object: Judging Fakes and False Attributions in the Visual Arts, Oxford University Press, 2004, [E-Book edition]
- ^ Édouard-Joseph, Dictionnaire Biographique des Artistes Contemporains: 1910-1930, Paris:, Libraire Grund, 1934, pp 353-354
- ^ https://upload.wikimedia.org/wikipedia/commons/9/95/Tableaux_par_feu_Trouillebert_-_exposition_du_18_au_30_mars_1901%2C_Galerie_des_Artistes_modernes_-_Paris%2C_1901_%28IA_tableauxparfeutr00trou%29.pdf
- ^ Marumo, Claude; Maier, Thomas; Müllerschön, Bernd (2004). Paul Désiré Trouillebert 1831-1900 : catalogue raisonné de l’oeuvre peint. Stuttgart: Edition Thombe. ISBN 978-3-935252-02-7.
