Leon richet biography

Richet was born in 1847 in Solesmes, a village in Normandy dominated in his childhood years by a growing Benedictine monastery.  By the late 1860s he was a pupil of Narcisse-Virgile Diaz de la Peña (1807-1876). The Salon committee accepted Richet’s painting of the forest of Fontainebleau in 1869.  By 1870, he had taken a studio in Paris at the southern edge of Montmartre.

Under the influence of Diaz, Richet depicted scenes around the village of Barbizon and in the Fontainebleau forest over the course of his career.  Diaz died in 1876. After that, Richet worked under Jules Lefebvre, another painter of the Barbizon School. Lefebvre taught at the Académie Julian, which had been founded in 1868; it is likely that Richet enrolled there, and continued his study of landscapes.  Richet enjoyed a long and settled career, painting both in the Barbizon area and in his native Normandy. He died in Paris in March of 1907 at age 60.

Léon Richet (* 1847 in Solesmes, Département Nord; † 26. März1907 in Fontainebleau) war ein französischerMaler der Schule von Barbizon.^[1]

Leben

Seine Karriere begann Richet an der Académie dem Valencienne, wo er Schüler von Jules-Joseph und Gustave Boulanger war.^[1] Später zog es ihn zur Schule von Barbizon. Théodore Rousseau und Narcisse Virgilio Diaz dem la Pena prägten ihn in dieser Phase sehr. De la Pena zählte ihn zu seinen begabtesten Schülern. 1869 nahm Richet das erste Mal am Pariser Salon^[1] teil und stellte von da an jedes Jahr dort aus. 1885 wurden bei der Senay-Auktion in New York zwei seiner Werke versteigert. 1888 erhielt er eine Medaille bei der Ausstellung im Pariser Salon. 1900 nahm er an der Pariser Weltausstellung teil.^[2]

Werke (Auswahl)

• Landschaft – 1903 bei einer Versteigerung im Waldorf Astoria in der Fifth Avenue in New Yo
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BIOGRAPHY - Leon Richet (1847 - 1907)

Landscape painting was one of several prominent themes in the art of nineteenth-century France; but it was not simply the remarkable number of landscape painters that exemplified the innovative aspects of nineteenth-century landscape painting.  It was instead that while the theme of nature had been treated before, it was very often an over-idealized conception of reality, seemingly acting merely a conduit for historical story telling within an artificially constructed environment.  Yet, this was the accepted form of landscape painting.  It was not until the nineteenth-century that a group of artists with similar ideals came tillsammans and focused on an honest treatment of the landscape in which they lived – and it was the natural landscape that was the focus of the work, its raison d’être.  To construct a painting on the theme of a contemporary landscape was, in the first half of the nineteenth-