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The ancient city of Agrigento Print by Pierre-Henri de Valenciennes

The ancient city of Agrigento

View of the Colosseum. Rome Print by Pierre-Henri de Valenciennes

View of the Colosseum. Romeq

Classical Landscape with Figures and Sculpture Print by Pierre-Henri de Valenciennes

Classical Landscape with Figures and Sculpture

Psyche Searching for Cupid Print by Pierre-Henri de Valenciennes

Psyche Searching for Cupid

The Banks of the Rance. Brittany Print by Pierre-Henri de Valenciennes

The Banks of the Rance. Brittany

An Arcadian landscape with a classical temple and aqueduct Print by Pierre-Henri de Valenciennes

An Arcadian landscape with a classical temple and aqueduct

Classical Landscape with Figures Drinking by a Fountain Print by Pierre-Henri de Valenciennes

Classical Landscape with Figures Drinking by a Fountain

The Destruction of Pompeii Print by Pierre-Henri de Valenciennes

The Destruction of Pompeii

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Landscape with Ruins

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The ancient city of Agrigento Print by Pierre-Henri de Valenciennes

The ancient city of Agrigento

Pierre-Henri de Valenciennes (December 6, 1750 – February 16, 1819) was a French painter.

Valenciennes worked in Rome from 1778 to 1782, where he made a number of landscape studies directly from nature, sometimes painting the same set of trees or house at different times of day.[1] He theorized on this idea in his 1800 treatise Reflections and Advice to a Student on Painting, Particularly on Landscape, developing a concept of a "landscape portrait" in which the artist paints a landscape directly while looking upon it, taking care to capture its particular details.[1] Although he spoke of this as a type of painting mainly of interest to "amateurs",[2] as distinguished from the higher art of the academies, he found it of great interest, and of his own works the surviving landscape portraits have been the most noted by later commentators.[1] He in particular urged artists to capture the distinctive details of a scene's architecture, dress, agriculture, and so on, in order to give the landscape a sense of belonging to a specific place; in this he probably influenced other French artists active in Italy who took an anthropological approach to painting rural areas and customs, such as Hubert Robert, Pierre-Athanase Chauvin and Achille Etna Michallon.[2]

Among his students were Jean-Victor Bertin, Achille Etna Michallon, Louis Étienne Watelet, Louis-François Lejeune and the first French panorama painter Pierre Prévost.

Born in the city of Toulouse, he died in Paris and is buried there in the Père Lachaise Cemetery.


References

Joshua C. Taylor (1989). Nineteenth-Century Theories of Art. University of California Press. pp. 246–247. ISBN 0-520-04888-1.
Matthew Craske (1997). Art in Europe, 1700-1830. Oxford University Press. pp. 115–16. ISBN 0-19-284206-4.

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