阿尔弗雷德·史蒂文斯Alfred Stevens

阿尔弗雷德·史蒂文斯埃米尔·利奥波德(1823年5月11日- 1906年8月24日)是一个比利时闻名的画家。

中文名阿尔弗雷德·史蒂文斯
外文名Alfred Stevens
性别男
国籍比利时
出生地比利时
出生日期1823年5月11日
逝世日期1906年8月24日
职业画家

教育

他父亲死后1837年,史蒂文斯离开中学开始学习Academie皇家美术在布鲁尔,他知道弗朗索瓦Navez,新古典主义画家和以前的学生雅克大卫谁是导演和一个老朋友史蒂文斯的祖父。传统的课程后,他从铸件的古典雕塑的头两年,然后从生活模式。1843年,史蒂文斯去巴黎,加入他的弟弟约瑟已经在那里。他是承认的美术学院在巴黎,最重要的艺术学校。虽然据说他成为学生的导演吉恩·奥古斯特·多米尼克·安格尔,这可能是不正确的。早期照片由史蒂文斯,赦免或赦免(藏圣彼得堡),签署和日期为1849年,显示了他的掌握传统的自然主义风格,很大程度上要归功于17世纪的荷兰人类型绘画。像比利时画家和朋友与他住在巴黎,弗洛伦特·约瑟夫·玛丽·斯(1823 - 1905),史蒂文斯仔细研究等画家的作品杰拉德ter Borch和加布里埃尔梅楚.

职业生涯的开端

史蒂文斯的工作在1851年首次公开展示,当三个他的画作被承认布鲁塞尔沙龙。他被授予一个三等勋章在1853年的巴黎沙龙,和二等勋章万国博览会1855年在巴黎。他的我们所谓的le流浪(所谓的流浪)(奥赛博物馆、巴黎)引起的注意拿破仑三世,由于照片中的场景,下令士兵不再是用来从街上捡起穷人。另外两个画他在沙龙展出安特卫普那一年,在soi或家里(现在的位置未知)和画家和他的模型(沃尔特斯艺术博物馆,巴尔的摩),介绍了主题从“la vie现代”他为人所知:一个优雅的年轻女子在当代服装和艺术家在他的工作室。1857年,史蒂文斯首次重要的出售给一个私人收藏家,当安慰收购传闻柏林收藏家和经销商Ravene 6000法郎。与此同时,他和他的兄弟成为巴黎的艺术世界的一部分,与人交往等龚古尔等兄弟,讯息Gautier,大仲马沙龙的马蒂尔德公主以及受欢迎的咖啡馆。史蒂文斯在1858年,玛丽·布兰科结婚,来自一个富有的家人和老朋友史蒂文斯的比利时。尤金·德拉克洛瓦是一个证人在仪式上。

成熟的职业

优雅的数据在一个沙龙

阿尔弗雷德·史蒂文斯Le贝恩

心理(我的工作室),ca。1871年,普林斯顿大学艺术博物馆

在1860年代,史蒂文斯成为一个非常成功的画家,以其绘画的优雅的现代女性。他的展品在巴黎和布鲁塞尔的沙龙吸引有利的关键和买家的关注。他的工作在这段时间里一个很好的例子是拉夫人在粉红色的玫瑰或妇女(延续royaux美术de比利时布鲁塞尔),创作于1866年,相结合的一个穿着时尚的女人在日本内部的详细检查对象,一个时髦的味道日本风史蒂文斯是早期爱好者。1863年,他收到了荣誉勋章从法国政府(骑士)。1867年,他赢得了一流的金牌万国博览会在巴黎,他和1月8月•利斯比利时部分的明星,被提升为军官的荣誉勋章。他的朋友包括爱德华。马奈,埃德加德加,查尔斯。波德莱尔,Berthe Morisot,詹姆斯•阿博特麦克尼尔惠斯勒,弗雷德里克Bazille,Puvis de通知,他是一个普通的组织聚集在咖啡馆Guerbois在巴黎。

史蒂文斯争取法国巴黎的包围中普法战争,但回到比利时前与他的妻子和家人巴黎公社。战后他们回来,史蒂文斯继续实现的一致好评与收藏家以及巨大的成功。1875年,他买了一个大房子和花园殉道者街,在巴黎,出现在他的画作以及其他艺术家,马奈的槌球党(Stadel博物馆,法兰克福)于1873年。(他在1880年离开家,然而,为了建设一个新街,以他的名字命名。)1878年,他被授予荣誉勋章的指挥官和接收另一个一流的奖牌在沙龙。

尽管赚取可观的收入通过出售他的画作,史蒂文斯发现不良投资和过度消费使他在1880年代伟大的财政困难。额外的费用来自海边的夏天,1880年医生告诉史蒂文斯对他的健康是必不可少的。因此艺术家很高兴同意当巴黎经销商乔治小给了他50000法郎为他的假期,以换取在此期间产生的绘画史蒂文斯。这笔交易,这持续了三年,导致海为他成为一个重要课题,在后来的职业生涯中,他画了数百的观点流行诺曼底海岸度假胜地和Midi在南方。他们中的很多人都画在一个粗略的风格,显示了印象派画家的影响。史蒂文斯也开始采取私人学生,包括莎拉·伯恩哈特,^[3]成为亲密的私人朋友,威廉•梅里特追。其他学生Berthe艺术,查尔斯贝尔桦木,朱尔斯Cayron,玛丽Collart-Henrotin,路易斯·德·哼哼,乔其纱莫尼耶,莉拉卡伯特佩里,Jean Paul Sinibaldi,弗尔南多杜桑.

在职业生涯末期

最重要在史蒂文斯的下半年工作生涯的全景du世纪末,1789 - 1889年他画亨利Gervex。史蒂文斯画了男人,妇女和细节和Gervex十五助手的帮助下。这是显示,广受好评的国际展览于1889年在巴黎举行。他还收到了几大专业贡品。1895年,在布鲁塞尔举行了一个盛大的展览他的作品。1900年,史蒂文斯被授予了巴黎美术学院的第一次给的回顾展览一个生活的艺术家。支持顾客为首的女伯爵德Greffulhe,它实现了社会声望以及受欢迎的程度。1905年,他是唯一在世艺术家允许在回顾展览展示在布鲁塞尔比利时艺术。尽管有这些展览,他没能卖出足够的工作来管理经济。比他的兄弟和他的大多数朋友后,他于1906年死于巴黎,独自生活在温和的房间

English Introduction

Education

After the death of his father in 1837, Stevens left middle school to begin study at the Académie Royale des Beaux-Arts in Brussels, where he knew François Navez, the Neo-Classical painter and former student of Jacques-Louis David who was its director and an old friend of Stevens's grandfather. Following a traditional curriculum, he drew from casts of classical sculpture for the first two years, and then drew from live models.^[2] In 1843, Stevens went to Paris, joining his brother Joseph who already was there. He was admitted to the École des Beaux-Arts, the most important art school in Paris. Although it is said that he became a student of its director Jean Auguste Dominique Ingres, this is likely not true.^[2] An early picture by Stevens, The Pardon or Absolution (Hermitage, St. Petersburg), signed and dated 1849, shows his mastery of a conventional naturalistic style which owes much to 17th-century Dutch genre painting. Like the Belgian painter and friend with whom he stayed in Paris, Florent Joseph Marie Willems (1823–1905), Stevens carefully studied works by painters such asGerard ter Borch and Gabriel Metsu.^[3]

Career beginnings

Stevens's work was shown publicly for the first time in 1851, when three of his paintings were admitted to the Brussels Salon. He was awarded a third-class medal at the Paris Salon in 1853, and a second-class medal at the Universal Exposition in Paris in 1855.^[3] His Ce qu'on appelle le vagabondage [What is called vagrancy] (Musée d'Orsay, Paris) attracted the attention of Napoleon III who, as a result of the scene in the picture, ordered that soldiers no longer be used to pick up the poor from the streets. Two other paintings he exhibited at the Salon in Antwerp that year, Chez soi or At Home (present location unknown) and The Painter and his Model (Walters Art Museum, Baltimore), introduced subjects from "la vie moderne" for which he became known: an elegant young woman in contemporary dress and the artist in his studio. In 1857, Stevens made his first important sale to a private collector, when Consolation was bought for a rumored 6,000 francs by the Berlin collector and dealer Ravéné. At the same time, he and his brother were becoming part of the art world of Paris, meeting people such as the Goncourt brothers, Théophile Gautier, and Alexandre Dumas at the salons of Princess Mathilde as well as popular cafés. In 1858, Stevens married Marie Blanc, who came from a rich Belgian family and old friends of the Stevens's. Eugène Delacroix was a witness at the ceremony.

Mature career

During the 1860s, Stevens became an immensely successful painter, known for his paintings of elegant modern women. His exhibits at the Salons in Paris and Brussels attracted favorable critical attention and buyers. An excellent example of his work during this time is La Dame en Rose or Woman in Pink (Musées royaux des Beaux-Arts de Belgique, Brussels), painted in 1866, which combines a view of a fashionably dressed woman in an interior with a detailed examination of Japanese objects, a fashionable taste called japonisme of which Stevens was an early enthusiast. In 1863, he received the Legion of Honor (Chevalier) from the French government. In 1867, he won a first-class medal at the Universal Exposition in Paris, where he and Jan August Hendrik Leys were the stars of the Belgian section, and was promoted to Officer of the Legion of Honor. His friends included Édouard Manet, Edgar Degas, Charles Baudelaire, Berthe Morisot, James Abbott McNeill Whistler,Frédéric Bazille, and Puvis de Chavannes, and he was a regular in the group that gathered at the Café Guerbois in Paris.

Stevens fought for the French during the siege of Paris in the Franco-Prussian War, but returned to Belgium with his wife and family before the Paris Commune. They returned after the war, and Stevens continued to achieve critical acclaim as well as great success with collectors. In 1875, he bought a grand house and garden in Paris on rue des Martyrs, which appeared in his paintings as well as those of other artists, including Édouard Manet's The Croquet Party (Städel Museum, Frankfurt am Main) from 1873.^[6] (He had to leave the house in 1880, however, to make way for the construction of a new street, which was named after him.) In 1878, he was made a Commander of the Legion of Honor and received another first-class medal at the Salon.

Despite earning a considerable income through the sale of his paintings, Stevens found that a combination of bad investments and excessive spending caused him great financial difficulties during the 1880s. An additional expense came from summers by the sea, which a doctor told Stevens in 1880 were essential for his health. Thus the artist was glad to agree when the Paris dealer Georges Petit offered him 50,000 francs to finance his vacation in exchange for the paintings Stevens produced during that time. This deal, which lasted for three years, resulted in the sea becoming an important subject for him, and over the rest of his career, he painted hundreds of views of popular resorts along the Normandy coast and the Midi in the south. Many of them are painted in a sketchy style that shows the influence of the Impressionists. Stevens also began to take private students, including Sarah Bernhardt, who became a close personal friend, and William Merritt Chase. Other students were Berthe Art, Charles Bell Birch, Jules Cayron, Marie Collart-Henrotin, Louise De Hem, Georgette Meunier,Lilla Cabot Perry, Jean Paul Sinibaldi, and Fernand Toussaint.

Late career

The single most important work from the second half of Stevens's career is the monumental Panorama du Siècle, 1789–1889, which he painted with Henri Gervex. Stevens painted the women and details and Gervex the men, with the help of fifteen assistants. It was shown to great acclaim at the International Exhibition held in Paris in 1889. He also received several great professional tributes. In 1895, a large exhibition of his work was held in Brussels. In 1900, Stevens was honored by the Ecole des Beaux-Arts in Paris with the first retrospective exhibition ever given to a living artist. Supported by patrons led by the Comtesse de Greffulhe, it achieved social cachet as well as popular success. In 1905, he was the only living artist allowed to exhibit in a retrospective show of Belgian art in Brussels. Despite these exhibitions, he was not able to sell enough of his work to manage well financially. Having outlived his brothers and most of his friends, he died in Paris in 1906, living alone in modest rooms.

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美术百科参考资料

1、Alfred Stevens (painter)