Artist of the day: Artist of the Day, April 11, 2022: Jules Breton, a French naturalist painter (#1542)

Monday, April 11, 2022

Artist of the Day, April 11, 2022: Jules Breton, a French naturalist painter (#1542)

Jules Adolphe Aimé Louis Breton (1827 –1906) was a 19th-century French naturalist painter. His paintings are heavily influenced by the French countryside and his absorption of traditional methods of painting helped make Jules Breton one of the primary transmitters of the beauty and idyllic vision of rural existence.

Breton was born in Courrières, a small Pas-de-Calais village. His father, Marie-Louis Breton, supervised land for a wealthy landowner. His mother died when Jules was 4 and he was brought up by his father.

His first artistic training was not far from Courrières at the College St. Bertin. He met the painter Félix De Vigne in 1842 who, impressed by his youthful talent, persuaded his family to let him study art. Breton left for Ghent in 1843 where he continued to study art at the Academy of Fine Arts with de Vigne and the painter Hendrik Van der Haert. In 1846, Breton moved to Antwerp where he took lessons with Egide Charles Gustave Wappers and spent some time copying the works of Flemish masters. In 1847, he left for Paris where he hoped to perfect his artistic training at the École des Beaux-Arts.

In Paris he studied in the atelier of the Michel Martin Drolling. He met and became friends with several of the Realist painters, including François Bonvin and Gustave Brion and his early entries at the Paris Salon reflected their influence. His first efforts were in historical subjects: Saint Piat preaching in Gaul then, under the influence of the revolution of 1848, he represented Misery and Despair. The Salon displayed his painting Misery and Despair in 1849 and Hunger in 1850-51.

Both paintings have since been destroyed. After Hunger was successfully shown in Brussels and Ghent, Breton moved to Belgium where he met his future wife Elodie. Elodie was the daughter of his early teacher Félix de Vigne. In 1852, Breton returned to France. But he had discovered that he was not born to be a historical painter, and he returned to the memories of nature and of the country which were impressed on him in early youth. In 1853 he exhibited Return of the Reapers, the first of numerous rural peasant scenes influenced by the works of the Swiss painter Louis Léopold Robert. Breton's interest in peasant imagery was well established from then on and what he is best known for today. In 1854, he returned to the village of Courrières where he settled. He began The Gleaners, a work inspired by seasonal field labor and the plight of the less fortunate who were left to gather what remained in the field after the harvest. The Gleaners received a third class medal, which launched Breton's career. He received commissions from the State and many of his works were purchased by the French Art Administration and sent to provincial museums. His 1857 painting Blessing of the Wheat, Artois was exhibited at the Salon the same year and won a second class medal.

He continued to exhibit throughout the 1870s and into the 1880s and 1890s and his reputation grew. His poetic renderings of single peasant female figures in a landscape, posed against the setting sun, remained very popular, especially in the United States. Since his works were so popular, Breton often produced copies of some of his images. He was extremely popular in his own time, exhibiting numerous compositions at the Salons that were widely available as engravings. He was one of the best known painters of his period in his native France as well as England and the United States.

In 1886, Donald Smith, 1st Baron Strathcona and Mount Royal, bid $45,000 at a New York auction for Breton's work The Communicants (1884). At that time, the price was the 2nd highest price paid for a painting by a living artist. This same painting changed hands again in 2016 and commanded $1.27 million. That figure is very close to the 1886 auction price after adjusting for inflation. Also in 1886, Breton was elected a member of the Institut de France on the death of Baudry.

In 1889 Breton was made commander of the Legion of Honor, and in 1899 foreign member of the Royal Academy of London. His brother Emile, an architect by training, and his daughter Virginie were also painters.

Arguably, Breton's fame peaked posthumously in 1934 at The Chicago World's Fair. First Lady Eleanor Roosevelt unveiled The Song of the Lark as the winner of the Chicago Daily News contest to find the "most beloved work of art in America". Further, she declared the painting as being her personal favorite painting. "At this moment The Song of the Lark had come to represent the popular American artistic taste on a national level."

To a degree, one can argue that posthumously Breton's fame fell victim to the success during his lifetime. His most detailed works either went straight into museums or were collected by the likes of Henry Clay Frick, Catharine Lorillard Wolfe, the Morgan family, Henry Huntington and the Field family. These were collectors of such great wealth that they tended to either donate their collections to their favorite local museum or founded their own museum such as the Huntington. Meanwhile, the exponential increase in printmaking in the 19th century flooded the market with inexpensive prints of Breton's works. In 2019, dozens of these 19th century prints are available on websites like EBay beginning at under $10.

Breton's change in fame can be contrasted with his contemporary the artist Vincent van Gogh. During their lifetimes, Breton was a celebrated and highly paid successful artist. He spent months creating some of his works. Whereas, in 1880 Vincent van Gogh was so poor he walked on foot 85 kilometers to Courrières to pay a visit to Breton, whom he greatly admired, but turned back, put off by Breton's high wall.
© 2022. All content on this blog is protected by international copyright laws All images are copyrighted © by Jules Breton or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only