Jean Beraud
Paintings
The Wind
Student Brasserie
The Chalet Du Cycle In The Bois De Boulogne
In the Wings at the Opera House
La Marseillaise
Christ at the Column
Parisian Street Scene
Announcement posts. Morris on the Champs Elysees
Announcement posts. Morris on the Champs Elysees
Announcement posts. Morris on the Champs Elysees
Boulevard des Capucines and the Vaudeville Theatre
Boulevard Montmartre and the Theatre of Variety
Boulevard at night in the Variety Theatre
Boulevard Saint-Denis in Paris
Sunday in the Church of Saint-Philippe-du-Steering, Paris
On a rainy day at Place de la Concorde
Patisserie Klopp on the Champs Elysees
Windy Day on the Pont des Arts in Paris
Windy Day on the Place de la Concorde
Windy day, a girl in a red dress
Out of the box the Opera House
Exit the Church of the Holy Magdpliny
Exit servants of the house Paquin, Rue de la Paix, Paris
Mr. and Ms. Galin before the Jockey Club
Gallery for festivities in the theater variety show Folies Berger
Lady on the bridge of Alexander III
Children seller of toys on the waterfront Luvra
Cottage cyclists in the Bois de Boulogn
Milliner on the Champs Elysees
Moment of the Blessed Sacrament
On the rue de Richelieu in the rain
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The Wind
Jean Béraud (French: [beʁo]; January 12, 1849 – October 4, 1935) was a French painter, noted for his paintings of Parisian life during the Belle Époque. He was renown in the Paris society thanks to the numerous genre paintings depicting the life of Paris, nightlife the Paris society. He also painted religious subjects in a contemporary setting. Pictures of the Champs Elysees, cafeés, Montmartre and the banks of the Seine are precisely detailed illustrations of everyday Parisian era of the "Belle Époque". An example is the 1889 picture "Cafeé Gloppe.
Biography
Symphony in Red and Gold
Béraud was born in Saint Petersburg. His father (also called Jean) was a sculptor and was likely working on the site of St. Isaac's Cathedral at the time of his son's birth. Béraud's mother was one Geneviève Eugénie Jacquin; following the death of Béraud's father, the family moved to Paris. Béraud was in the process of being educated as a lawyer until the occupation of Paris during the Franco-Prussian war in 1870.
Béraud became a student of Léon Bonnat, and exhibited his paintings at the Salon for the first time in 1872. However, he did not gain recognition until 1876, with his On the Way Back from the Funeral. He exhibited with the Society of French Watercolorists at the 1889 World's Fair in Paris.
A Windy Day on the Pont des Arts
Café Gloppe
He painted many scenes of Parisian daily life during the Belle Époque in a style that stands somewhere between the academic art of the Salon and that of the Impressionists. He received the Légion d'honneur in 1894.
Béraud's paintings often included truth-based humour and mockery of late 19th-century Parisian life, along with frequent appearances of biblical characters in then contemporary situations. Paintings such as Mary Magdalene in the House of the Pharisees aroused controversy when exhibited, because of these themes.
Towards the end of the 19th century, Béraud dedicated less time to his own painting but worked on numerous exhibition committees, including the Salon de la Société Nationale. Béraud never married and had no children. He died in Paris on October 4, 1935, and is buried in Montparnasse Cemetery beside his mother.
Style
In France, Béraud was popular, in particular, liked by Guy de Maupassant who called him "adorable's adversaries" ( Le plus charmant des fantaisistes).[1]
However, his work is completely ignored by art historians of the period. After the Revolution, Russian artists received Béraud's work with irony, seeing them as the embodiment of the Western commercial consumption, indulging in their opinion, in the rich middle-class tastes. Painting style gradually shifted from academic towards impressionism. However, while the major Impressionists fled the chaotic Paris and painted landscapes of the surrounding areas, Béraud - like his friend Édouard Manet (1832-1883), and in some of their paintings, Edgar Degas (1834-1917), depicted the urban life. Artistic techniques used Béraud, in particular, when drawing the so-called À la salle Graffard, later became a classic. The upper part of the picture is hidden in a light haze, the musicians and spectators are depicted in the foreground, while performers stand out against a darker background.[2][3]
References
"Cooke, Victoria; Femme, femme, femme: Paintings of Women in French Society from Daumier to Picasso from the Museums of France". www.noma.org.
Foster, Carter E. (2002). "French Master Drawings: From the Collection of Muriel Butkin". Hudson Hills Press. p. 182. ISBN 0940717670.
Gilbert, Lori. (2010). "Forum shows difficulties faced by young artists". Recordnet.com. Retrieved October 2014.
Sources
Patrick Offenstadt, The Belle Epoque : A Dream of Times Gone by Jean Béraud, Taschen - Wildenstein Institute, Paris, 1999.
Tate Collection | Jean Béraud at www.tate.org.uk
artnet.com
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