Jean-Louis-Ernest Meissonier

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The following article is from The Great Soviet Encyclopedia (1979). It might be outdated or ideologically biased.

Meissonier, Jean-Louis-Ernest

 

Born Feb. 21,1815, in Lyon; died Jan. 31, 1891, in Paris. French painter.

Meissonier studied in Paris with L. Cogniet. He became famous for his small historical genre paintings, most of which were inspired by 17th- and 18th-century France, as well as for his battle scenes (The Emperor at Solferino, 1863, the Louvre, Paris; and Friedland, 1807, 1875, the Metropolitan Museum, New York). Although conceptually they lack depth and reproduce primarily external appearances, Meissonier’s paintings are attractive for their intriguing subjects, painstaking re-creation of historical tableaux, and attention to detail. One of his few works on a contemporary theme, Barricade (1848, the Louvre), is devoted to the events of June 1848. Under the Second Empire (1852–70), Meissonier was Napoleon Ill’s favorite artist and the chief court authority on art.

REFERENCES

Bulgakov, F. Meison’e i egoproizvedeniia. St. Petersburg, 1907 [1908 on the cover].
Bénédite, L. Meissonier. Paris [1911].
The Great Soviet Encyclopedia, 3rd Edition (1970-1979). © 2010 The Gale Group, Inc. All rights reserved.
References in periodicals archive ?
To be sure, the battle scenes and massing armies that here form the backdrop of several works recall French salon painting of military subjects--think Edouard Detaille or Ernest Meissonier. Their panoramic vistas embody the lachrymose chauvinism that developed in reaction to the rout of Napoleon's Grande Armee following the fiasco of his Russian campaign, a defeat that augured the trouncing of France by the Prussians in 1870.
Artists like Ernest Meissonier and Isidore Pils chronicled the Emperor's military exploits, Jean-Leon Gerome conjured Orientalist themes reinforcing imperialist ambitions, while Jules Breton specialized in scenes of contented peasants.
This lecture will examine the contrasting styles, reputations and posthumous fortunes of two of the French art world's main protagonists during this period, Ernest Meissonier and Edouard Manet.
Rather, in tracing the verdict of the Parisian art world on the various kinds of art produced in the 1860s and 70s, King focuses his narrative on the careers of Edouard Manet and Ernest Meissonier. The book's thirty-eight short chapters often move back and forth between the two artists, the former cast as an unrepentant rebel, an innovator of new subjects and techniques of painting, and the object of vacillating critical and commercial fortunes, and the latter as the defender of institutional values and paragon of commercial success.
To do this he contrasts the lives, works and reputations of Ernest Meissonier and Edouard Manet, the former the exacting painter whose works were greatly sought after, the latter, the revolutionary who seemed to flaunt all accepted criteria.
There are the classic canvases of academic painters like Alphonse de Neuville and Ernest Meissonier, often completed considerably later.
And the results were, number one, Adolphe William Bouguereau; second, Jean-Louis Ernest Meissonier; and, third, Leon Gerome.
At the same time--being true to his nature--he also responded to the works of academicians such as Jean Louis Ernest Meissonier and Alfred Stevens.
Other well-known people who figure in Savatier's account are Maxime du Camp, Ernest Feydeau, the Goncourts, Champfleury, Delacroix, Sir Richard Wallace, Ernest Meissonier, the Duc de Morny, Auguste Preault.
(6) It will be argued that the Societe Nationale des Beaux-Arts (henceforth the Nationale) and its leaders, but above all Ernest Meissonier, offered a solution to the century-long debate over whether the Salon should be an exhibition of the best productions of the French school or a venue for painters to sell their works.
The artist who would become the leading founder of the Nationale, Ernest Meissonier, had his own view of the problem of the French school and his ideas further influenced the formation of the Nationale Salon.
Hungerford, Constance Cain: Ernest Meissonier, Master in his genre.