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Nineteenth-Century European Paintings Distributed by Yale University Press | New Haven and London at the Sterling and Francine Clark Art Institute Sterling and Francine clark art inStitute | WilliamStoWn, massachuSettS NINETEENTH-CENTURY EUROPEAN PAINTINGS diStributed by yale univerSity Press | NeW haven and london AT THE STERLING AND FRANCINE CLARK ART INSTITUTE VOLUME ONE Edited by Sarah Lees With an essay by Richard Rand and technical reports by Sandra L. Webber With contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, Zoë Samels, and Fronia E. Wissman ii iii Nineteenth-Century European Paintings at the Sterling and Library of Congress Cataloging-in-Publication Data Francine Clark Art Institute is published with the assistance of the Getty Foundation and support from the National Sterling and Francine Clark Art Institute. Endowment for the Arts. Nineteenth-century European paintings at the Sterling and Francine Clark Art Institute / edited by Sarah Lees ; with an essay by Richard Rand and technical reports by Sandra L. Webber ; with contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Produced by the Sterling and Francine Clark Art Institute Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, 225 South Street, Williamstown, Massachusetts 01267 Zoë Samels, Fronia E. Wissman. www.clarkart.edu volumes cm Includes bibliographical references and index. Curtis R. Scott, Director of Publications ISBN 978-1-935998-09-9 (clark hardcover : alk. paper) — and Information Resources ISBN 978-0-300-17965-1 (yale hardcover : alk. paper) Dan Cohen, Special Projects Editor 1. Painting, European—19th century—Catalogs. 2. Painting— Katherine Pasco Frisina, Production Editor Massachusetts—Williamstown—Catalogs. 3. Sterling and Anne Roecklein, Managing Editor Francine Clark Art Institute—Catalogs. I. Lees, Sarah, editor Michael Agee, Photographer of compilation. II. Rand, Richard. III. Webber, Sandra L. IV. Title. Laurie Glover, Visual Resources V. Title: 19th-century European paintings at the Sterling and Julie Walsh, Program Assistant Francine Clark Art Institute. Mari Yoko Hara and Michelle Noyer-Granacki, ND457.S74 2012 Publications Interns 759.9409'0340747441—dc23 2012030510 Designed by Susan Marsh Composed in Meta by Matt Mayerchak Copyedited by Sharon Herson Details: Bibliography edited by Sophia Wagner-Serrano title page: John Constable, Yarmouth Jetty (cat. 73) Index by Kathleen M. Friello opposite copyright page: Jean-Baptiste-Camille Corot, Proofread by June Cuff ner Bathers of the Borromean Isles (cat. 89) Production by The Production Department, page viii: Pierre-Auguste Renoir, Woman Crocheting (cat. 267) Whately, Massachusetts page x: Claude Monet, Seascape, Storm (cat. 222) Printed on 135 gsm Gardapat Kiara page xii: Jacques-Louis David, Comte Henri-Amédée-Mercure Color separations and printing by Trifolio, Verona de Turenne-d’Aynac (cat. 103) page xvi: William-Adolphe Bouguereau, Nymphs and Satyr © 2012 Sterling and Francine Clark Art Institute (cat. 33) All rights reserved. preceding page 2: Jean-Léon Gérôme, Snake Charmer (cat. 154) This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Distributed by Yale University Press, New Haven and London P. O. Box 209040, New Haven, Connecticut 06520-9040 www.yalebooks.com/art Printed and bound in Italy 10 9 8 7 6 5 4 3 2 1 15 François-Auguste Biard created paintings based upon his sketches, souvenirs, and memories of his travels. His works range from French, c. 1798–1882 genre paintings such as this one to rather scientific studies of nature, albeit ones imbued with a Romantic 15 | Sudden Squall at Sea 1860s sensibility.1 Definitive biographical information on the artist Oil on canvas, 80.5 x 99 cm is scant.2 After abandoning an ecclesiastical career, Lower left: Biard; lower right: Biard Biard trained in his native Lyons with the painter 1955.643 Pierre-Henri Révoil (1776–1842). After relocating to the French capital, Biard debuted at the Salon of 1824 The unexpected pitching of a ship and its effects on her with a genre painting called Interior of a Tavern Court- passengers’ mealtime is the subject of this painting. yard (location unknown). He became friendly with the It is the product of an inveterate traveler’s firsthand painter Camille Corot (cats. 83–91) and accompanied knowledge and wry observation of life on the high him to Rome in 1825, and was later portrayed by seas. The painter, François-Auguste Biard, led a long Corot in a portrait of 1830 (Musée d’Art et d’Histoire, life punctuated with trips to such far-flung places as Geneva).3 A lengthy contemporary account of the art- the rain forests of Brazil and the Arctic island of Spits- ist’s career appeared in 1842, where because of his bergen, as well as to the more typical Grand Tour desti- comedic tendencies, he was called the Molière of nations. Along the way, he sketched and painted what French painting.4 In addition to his genre scenes and he saw, and once back home in his Parisian studio, landscape studies, Biard painted portraits and history 34 François-Auguste Biard paintings. His most prominent patron was King Louis- painted.” 6 He later showed it to Francine, as her favor- Philippe himself, who acquired several landscape able opinion on his purchases was essential. She was paintings by the artist and also sat for a portrait by delighted by it, and Clark eventually hung the painting him. Although little known today, Biard was a popular in his office.7 KP figure in the Parisian artistic and intellectual commu- nities. His studio, packed with artifacts and speci- Provenance [M. A. McDonald, New York, sold to Durand- mens from his travels, became a sort of natural history Ruel, New York, 19 Sept. 1942, as agent for Clark]; Robert museum that attracted visitors from a wide spectrum Sterling Clark (1942–55 ); Sterling and Francine Clark Art of society, from scientists and statesmen to writers Institute, 1955. and painters. He exhibited his work regularly, received many awards, and was friendly with numerous artists. exhibitions Williams town 1979b, no cat.; Williams town 1980c, not in cat.; Williams town 1983b, no cat.; Williams- Sudden Squall at Sea shows a dimly lit state- town 1986a, no cat.; Williams town 1988a, no cat. room packed with nearly forty people, including well-dressed passengers of various ages, assorted references None servants, and even two nuns, reacting to some star- tling turbulence during their meal. A few diners at the technical rePort The support is a coarse open-weave upper right are being drenched with water pouring into fabric (13 x 16 threads/cm), glue-lined to a heavier weight the stateroom itself, while others are soaked by the fabric (14 x 19 threads/cm). The tacking margins have been spilled contents of a multitude of bottles, decanters, removed, and a repaired tear runs from the floor into the and glasses. The various characters lurch, lunge, and body of the sailor at the far right. The six-member mahogany stretcher is a replacement. Traction cracks are visible in attempt to right themselves as chairs tip and dishes the white and pink details as well as in the suit of the man slide, all beneath a lantern that sways dramatically standing in the center. There are numerous round dents in above the long table. As the rather shocked expres- the paint along the top edge, as if damaged when drying. sions and dramatic gestures of most of the voyagers This painting was probably last treated in 1942, by French indicate, nearly all the individuals react unfavorably restorer Gaston Levy in New York. There is a good deal of to the circumstance, although at least one seemingly solvent abrasion through all the colors, some down to the drunken woman on the far side of the table and the canvas threads, which gives an indistinct quality to parts of musicians to the left of the composition seem to be the image. This is especially noticeable in the dark passages. There is likely more strengthening than is visible in ultraviolet making the best of the situation. The chaos, variety of light, as the yellow-brown varnish masks the surface with horrified expressions, and dramatic gestures in this a dense fluorescence. There may be two layers of varnish painting are somewhat akin to Théodore Géricault’s with a substantial restoration between them dating from the Raft of the Medusa (1819; Musée du Louvre, Paris), time of the lining. Highlights on the hanging lamp appear to albeit in a far less serious manner. A bearded gentle- have been applied over earlier traction cracks and may be man stands steadily near the center of the composi- later additions. Cracks formed in the tear repair suggest that tion, his hand resting protectively on the shoulder of the restoration is quite old. The varnish has its own crack a seated woman, probably his wife, who examines her network and is fogged in many areas. Scattered fill residues or paint splatters were painted to match nearby colors. The sullied skirt with dismay. That the standing man’s fea- dark shiny surface reflectance reveals the weave pattern and tures bear the painter’s own likeness is not surprising, the lower right repair. given what must have been Biard’s own knowledge of The off-white ground could have been applied by the art- such situations, and he included himself in at least ist as there is evidence of cusping in the canvas weave on all one other painting with a maritime subject.5 Both of four sides.
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