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诺曼底悬崖 Charles Hoguet (1827-1905)

作者:查尔斯· 霍格特 Charles Hoguet (1827-1905)
国家:英国
画布尺寸:64x101cm
材质:油画和亚麻布
年代: 1853
收藏历史:英国私人收藏

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作品描述 | Description

作者:查尔斯· 霍格特 Charles Hoguet (1827-1905)
国家:英国
画布尺寸:64x101cm
材质:油画和亚麻布
年代: 1853
收藏历史:德国私人收藏

作者简介:

作者英文介绍:
The German painter and lithographer Charles Hoguet was born on November 21, 1821 in Berlin. First he was a pupil of Wilhelm August Christian Leopold Krause (1802–64) in the latter’s studio in Berlin. His areas of interest were marine and landscape painting. In 1839, Charles Hoguet went to Paris for further education. Here, with the help of Krause’s recommendation, he became a pupil of Eugène Ciceri (1813–90). He was also later on an apprentice with Eugène Isabey (1803–86). With him, Charles Hoguet studied at the same time with the German painter Eduard Hildebrandt (1817–68).

Charles Hoguet was born in Berlin to French parents. He began his studies with the marine painter Wilhelm Krause in Berlin. In 1839 the artist moved to Paris where he continued his studies with the landscape painter Bertin, who had also been the master of Corot, as well as with the Barbizon painter Eugène Cicéri, and finally with Louis-Gabriel-Eugène Isabey, a landscapist and one of the leading proponents of Romantic school. After his sojourn in Paris, he traveled extensively, briefly stopping to sketch in England, Holland, and along the Belgian and Norman coasts. He returned permanently to Berlin in 1848.

Hoguet was known primarily as a painter of landscape and genre scenes. Having absorbed the spirit of the Romantic school from his teacher Isabey, Hoguet often depicted broad landscape views with menacing skies. Despite this tendency towards dramatic views, Hoguet was also of the same generation as Charles Daubigny and embraced the principles of the Barbizon school. The result was a penchant for stormy landscapes painted in a brushy, realistic style. This unique blend of influences gained him the title the “Raphael of windmills.” Even after the 1850s, while Courbet lead French landscape painting towards greater Realism, Hoguet continued to work in a more Romantic vein, giving his work greater affinities with that of Diaz, Corot, and the first generation of Barbizon painters than to that of his more Realist contemporaries. He exhibited his landscape scenes at the Paris Salon from 1842 to 1853, medalling at the Salon of 1848, a year notable for the dominance of the Barbizon School. After 1848 he continued exhibiting in Berlin, where he medalled in 1859, and gained membership to the Berlin Academy in 1869.

In between he took frequent study trips to England, Holland, Belgium and to the Norman coast. Beginning in 1848, the artist lived once again in Berlin. An extraordinary productivity on the part of Charles Hoguet has been recorded. He worked in particular as a painter of still lifes, marine paintings and landscapes, but very charming architectural pictures were also produced. In the last two decades of his life, Hoguet finished no fewer than 422 oil paintings.
In 1869, he became a member of the Berlin Academy. In addition, he regularly sent oil paintings, water colors and sketches to their exhibits after 1839.
Charles Hoguet died in the city of his birth, Berlin, on August 4, 1870. However, even after the artist’s death, five of his works were seen at the Berlin Century Exhibit in 1906. Among them were "Waldlichtung mit Kühen" (1854, Forest Clearing with Cows) and "Stillleben mit gerupfter Pute"

博物馆收藏:
Windmühle in der Normandie, 1852, Lindenau-Museum Altenburg
Ansicht von Eberswalde, Niedersächsisches Landesmuseum Hannover, Landesgalerie
Gestrandete Schiffe, Staatliche Kunsthalle Karlsruhe
Kürbis auf Bauernstuhl, 1853, Alte Nationalgalerie Berlin
Selbstbildnis, Alte Nationalgalerie Berlin
Jagdstilleben, Alte Nationalgalerie Berlin
Letzte Mühle auf dem Montmartre, Alte Nationalgalerie Berlin
Windmühle in der Normandie, 1852, Lindenau-Museum Altenburg
Ansicht von Eberswalde, Niedersächsisches Landesmuseum Hannover, Landesgalerie
Gestrandete Schiffe, Staatliche Kunsthalle Karlsruhe
Kürbis auf Bauernstuhl, 1853, Alte Nationalgalerie Berlin
Selbstbildnis, Alte Nationalgalerie Berlin
Jagdstilleben, Alte Nationalgalerie Berlin
Letzte Mühle auf dem Montmartre, Alte Nationalgalerie Berlin


其他作品:

收藏于 英国 Victoria and Albert Museum


私人收藏

参考文献:
Friedrich von Bötticher, Malerwerke des 19. Jahrhunderts, Bd. I Teil 2, Nr. 53 (dort als "normannische Landschaft").
Barbizon to Brittany: Landscape and Realist Painting in Nineteenth-Century France. (New York, Jack Kilgore & Co, Inc. 2001.) no. 15-16.
Nationalgalerie Berlin, Verzeichnis der Gemälde und Skulpturen des 19. Jahrhunderts. (Berlin: Staatliche Museen, Preußischer Kulturbesitz, 1976): pp. 173-174.
Bellier de la Chavignerie and Auvray, Dictionnaire general des artistes de l’école française, rpt. (Paris: Galerie Laurentin, 1997): p. 773.
Bénézit, vol. 5, 1976.
Lydia Harambourg, Dictionnaire des peintres paysagistes Français au XIXe siècle. (Neuchâtel, Switzerland: Edition Ides et Calendes, 1985): p. 185.
Gérald Schurr, 1820-1920, Les petits maitres de la peinture valeur de demain. (Paris: Les Éditions de l’Amateur, 1982): vol. II, p. 32.
Thieme-Becker



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