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Louise Josephine Sarazin De Belmont: Her Inspirations and Innovations Alexandria Samantha Guillory Louisiana State University and Agricultural and Mechanical College

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Louise Josephine Sarazin De Belmont: Her Inspirations and Innovations Alexandria Samantha Guillory Louisiana State University and Agricultural and Mechanical College Louisiana State University LSU Digital Commons LSU Master's Theses Graduate School 2014 Louise Josephine Sarazin de Belmont: Her Inspirations and Innovations Alexandria Samantha Guillory Louisiana State University and Agricultural and Mechanical College Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_theses Part of the Arts and Humanities Commons Recommended Citation Guillory, Alexandria Samantha, "Louise Josephine Sarazin de Belmont: Her Inspirations and Innovations" (2014). LSU Master's Theses. 1673. https://digitalcommons.lsu.edu/gradschool_theses/1673 This Thesis is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Master's Theses by an authorized graduate school editor of LSU Digital Commons. For more information, please contact [email protected]. LOUISE JOSEPHINE SARAZIN DE BELMONT: HER INFLUENCES AND INNOVATIONS A Thesis Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Master of Arts in The School of Art by Alexandria Samantha Guillory B.A., University of South Alabama, 2012 August 2014 This thesis is dedicated, first and foremost, to my mother, Hollie Guillory, who has supported me in each step of this venture; there are not words to express all that she has done for me. Additionally, I would like to dedicate this work to my grandparents, Wendell and Betty Guillory, who first instilled in me a love of art. To the memory of Louise Josephine Sarazin de Belmont; it has been an honor. ii ACKNOWLEDGEMENTS I would like to thank Dr. Darius Spieth, not only for inspiring this topic, but also for providing invaluable resources, and honest feedback throughout this process. I would also like to thank Dr. Matthew Savage and Dr. Susanne Marchand for their editorial contributions. My father, Sean Guillory, also deserves credit in this endeavor. Without his supportive words and assistance I would never have been able to achieve this milestone. Finally, I wish to thank my fellow graduate students for their constant support, encouragement, and reassurances. Carmen, Brandi, and Carla, you will forever hold a place in my heart. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS ............................................................................................... iii LIST OF FIGURES ............................................................................................................ v ABSTRACT ..................................................................................................................... viii CHAPTER 1: LOUISE JOSEPHINE SARAZIN DE BELMONT: HER ARTISTIC EDUCATION AND SALON EXHIBITIONS ................................................................... 1 Introduction ..................................................................................................................... 1 Views Taken from Italy: Following the Route of Abbé de Saint Non ........................... 3 Views Taken from France and Switzerland .................................................................. 10 CHAPTER 2: THE DEVELOPMENT OF THE SOUTHERN ITALIAN LANDSCAPE ................................................................................................................... 15 Northern European Beginnings: The Bambaccianti Tradition ..................................... 15 Southern Italian Influence: Claude Lorrain .................................................................. 18 Southern Italian Influence: Nicolas Poussin ................................................................. 28 CHAPTER 3: SARAZIN DE BELMONT’S TEACHER: PIERRE HENRI DE VALENCIENNES ............................................................................................................ 36 Life and Artistic Career ................................................................................................ 36 Contributions as a Teacher and Theoretician ................................................................ 40 CHAPTER 4: THE AUCTION RECORDS AND MUSEUM DONATIONS OF SARAZIN DE BELMONT............................................................................................... 47 Auction Records and Related Works ............................................................................ 47 Museum Donations ....................................................................................................... 54 CONCLUSION ................................................................................................................. 60 BIBLIOGRAPHY ............................................................................................................. 61 VITA ................................................................................................................................. 64 iv LIST OF FIGURES 1. Dambrun, Vue de la ville de Naples prise du Baflion appellé il Torrione del Carmine, c. 1800. Engraving. Bibliothèque nationale de France........................................................6 2. Louise Josephine Sarazin de Belmont, Vue du Forum romain, avec l'arc de Septim Sévère, 1865. Oil on wood. 15 x 24 cm. Lempertz auction house.......................................7 3. Louise Josephine Sarazin de Belmont, Vue du forum et du capitole à Rome, c. 1867. Oil on wood. 21 x 28 cm. Musée Ingres, Montauban..........................................................7 4. De Ghendt, Vue de l'arc de Trajan à Benevent, c. 1800. Engraving. Bibliothèque nationale de France..............................................................................................................8 5. Louise Josephine Sarazin de Belmont. The Roman Theater at Taormina, 1828. Oil on paper mounted on canvas. 41.6 x 57.5 cm. National Gallery of Art, Washington D.C.......9 6. Gallonberg, Vue générale des ruines de l'ancien théâtre de Taorminum, c. 1800. Engraving. Bibliothèque nationale de France......................................................................9 7. Louise Josephine Sarazin de Belmont, Vue de couvent de Saint-Savin, 1833. Lithographic print. Bibliothèque nationale de France.......................................................11 8. Louise Josephine Sarazin de Belmont, Vue de Paris prise de la galerie d’Apollon, 1835. Oil on canvas. 124 ½ x 160 cm. Museum of Art, Rhode Island School of Design, Rhode Island………………….............................................................................13 9. Louise Josephine Sarazin de Belmont, Intérieur de la forêt de Fontainebleau, c. 1834. Oil on canvas. 44 x 60 cm. Musée des beaux-arts, Nantes................................................13 10. Louise Josephine Sarazin de Belmont, View of Saint-Pol-De-Léon, c. 1837. Oil on Canvas. 62 x 91 cm. Stair Sainty Gallery..........................................................................14 11. Pieter van Laer, The Cake Vendor, c. 1630. Oil on Canvas. Galleria Nazionale, Rome...17 12. Nicolaes Berchen, Italianate landscape with fountain and shepherds, c. 1645. Oil on canvas, 36.8 x 48.4cm. Dulwich Picture Gallery, London................................................18 13. Claude Lorrain, Coast Scene with Europa and the Bull, c.1634. Oil on canvas, 170.2x 198.1 cm. Kimbell Art Museum, Fort Worth.......................................................21 14. Claude Lorrain, Pastoral Landscape with Lake Albano and Castel Gandolfo, c. 1640. Oil on copper, 30.5 x 35.5 cm. The Sydnics of the Fitzwilliam Museum, Cambridge. ...21 v 15. Claude Lorrain, The Port of Santa Marinella, c. 1640. Oil on copper, 28 x 35.5 cm. Musée du Petit Palais, Collection Dutuit, Paris.................................................................22 16. Claude Lorrain, View of Tivoli, c. 1640. Pen, brown and red wash 21.5 x 31.75 cm. British Museum, London...................................................................................................23 17. Louise Josephine Sarazin de Belmont, The Falls at Tivoli, c. 1826. Oil on paper laid on canvas, 72.1 x 42.2 cm. Fine Arts Museums of San Francisco, San Francisco.................24 18. Claude Lorrain, Harbour Scene, c. 1638. Oil on canvas, 96.7 x 53.3 cm. Private Collection, Paris.................................................................................................................26 19. Louise Josephine Sarazin de Belmont, View of Saint-Pol-De-Léon, c. 1830. Oil on canvas, 62.2 x 88.9 cm. Sold by the Stair Sainty Gallery, London...................................26 20. Louise Josephine Sarazin de Belmont, Vue d'Italie, c. 1870. Oil on canvas, 31 ½ x 50 cm. Musée Ingres, Montauban..........................................................................27 21. Nicolas Poussin, Landscape with Polyphemus, 1649. Oil on canvas, 147.3 x 195.5 cm. The Hermitage, Leningrad.................................................................................................32 22. Louise Josephine Sarazin de Belmont, The Falls at Tivoli, c. 1826. Oil on paper laid on canvas, 57.5 x 41.6 cm. Fine Arts Museums of San Francisco, San Francisco............33 23. Louise Josephine Sarazin de Belmont, Vue de la Vallée d’Argelles, 1833. Lithograph, 15 in plate. Bibliothèque municipal de Toulouse, Toulouse..........................34 24. Pierre Henri Valenciennes, Cicero Discovering the Tome of Archimedes, 1787. Oil on canvas. Musée des Augustins, Toulouse............................................................................38 25. Pierre Henri Valenciennes, In Rome: Study of a Cloudy Sky, c.
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