Ferdinand Roybet<\/span><\/b>\u00a0est un peintre de genre, A la fin du XIX\u00e8me si\u00e8cle, Roybet est De Franz Hals, Roybet prend la puissance Notre tableau, un gentilhomme se tenant Mus\u00e9es\u00a0:<\/span><\/u> Avignon, France Bordeaux, France Paris, Mus\u00e9e d\u2019Orsay Mulhouse,\u00a0France New\u00a0York Bibliographie\u00a0:<\/span><\/u> E. B\u00e9n\u00e9zit, \u00e9dition Gr\u00fcnd,\u00a0Tome Ferdinand Roybet<\/span><\/i><\/b>\u00a0was a \u00a0At the end From Franz Hals, Our painting, of Museums Avignon, Bordeaux, Paris, Mulhouse, New <\/span><\/span><\/u><\/span><\/p>\n Bibliography :<\/span><\/u><\/i> E. B\u00e9n\u00e9zit, Gr\u00fcnd edition, Ferdinand Roybet (1840-1920)<\/span><\/b> \u00a0<\/span> Ecole Huile Dimensions Avec \u00a0<\/span><\/i> French school<\/span><\/i> Oil on mahogany panel signed lower right<\/span><\/i> Dimensions : H. 60 x W. 45 cm<\/span><\/i> With frame : H. 90,5 x W. 75 cm<\/span><\/i>
\nportraitiste et graveur, n\u00e9 le 12 avril 1840 \u00e0 Uz\u00e8s (Gard).\u00a0<\/span>Il commen\u00e7a par \u00e9tudier la gravure \u00e0
\nLyon, puis vint \u00e0 Paris en 1864 o\u00f9 il fut l\u2019\u00e9l\u00e8ve de Vibert.\u00a0En 1866, il
\nenvoie au Salon un tableau intitul\u00e9\u00a0\u00ab\u00a0Un fou sous Henri III\u00a0\u00bb<\/i>\u00a0qui
\nsera acquis par la princesse Mathilde et assurera sa r\u00e9putation et d\u00e9cidera
\nd\u00e9finitivement de son genre.\u00a0Il re\u00e7ut plusieurs m\u00e9dailles d\u2019honneur lors
\ndes Expositions Universelles d\u2019Anvers (1894), de Berlin et de Vienne.\u00a0En
\n1871, il visite les mus\u00e9es de Hollande et peint ainsi de nombreuses copies de Rembrandt
\net de Franz Hals.\u00a0On connait de lui un certain nombre de portraits dont
\nceux de\u00a0Mme Gibson<\/i>\u00a0et de\u00a0MM. Georges de Dramard\u00a0<\/i>et\u00a0Antoine
\nGuillemet<\/i>.<\/span>
\nune des figures centrales de l\u2019art du portrait et des sc\u00e8nes d\u2019int\u00e9rieur.
\nL\u2019artiste satisfaisait avec virtuosit\u00e9 aux fantaisies de ses riches
\ncommanditaires, sans doute las des traditionnels portraits bourgeois de
\nl\u2019\u00e9poque.<\/span>
\nde la forme, et de Rembrandt, la ferveur de sa qu\u00eate de l\u2019\u00e2me du mod\u00e8le.
\nL\u2019artiste peint avec une touche rapide et pr\u00e9cise ces personnages v\u00eatus \u00e0 la
\nmode du XVII\u00e8me<\/sup>\u00a0si\u00e8cle.
\nfi\u00e8rement debout, une main \u00e0 la hanche, constitue une \u0153uvre admirablement
\nr\u00e9ussie de Roybet dont la production abondante est parfois moins aboutie.
\nL\u2019artiste parvient \u00e0 repr\u00e9senter le personnage avec un remarquable r\u00e9alisme. On
\nnotera l\u2019\u00e9quilibre parfait de la composition, le soin apport\u00e9 aux moindres
\nd\u00e9tails, la richesse du costume, la gr\u00e2ce de la posture, le visage expressif du
\npersonnage, l\u2019intensit\u00e9 de son regard. Avec talent, l\u2019artiste nous offre ainsi
\nun portrait particuli\u00e8rement vivant.
\nCity, New York
\nXII, pages 58-59.
\ngenre painter, portraitist and engraver, born on April 12, 1840 in Uz\u00e8s (Gard).
\nHe began by studying engraving in Lyon, then came to Paris in 1864 where he was
\na student of Vibert. In 1866, he sent to the Salon a painting entitled \u00ab\u00a0Un
\nfou sous Henri III\u00a0\u00bb which was acquired by Princess Mathilde and ensured
\nhis reputation and definitively decided his genre. He received several medals
\nof honor at the World Fairs of Antwerp (1894), Berlin and Vienna. In 1871, he
\nvisited the museums of Holland and painted many copies of Rembrandt and Franz
\nHals. He is known to have painted a number of portraits, including those of
\nMrs. Gibson, Georges de Dramard and Antoine Guillemet.<\/span><\/i>
\nof the 19th century, Roybet was one of the central figures in the art of portraiture
\nand interior scenes. The artist satisfied with virtuosity the fantasies of his
\nrich clients, undoubtedly tired of the traditional bourgeois portraits of the
\ntime.<\/span><\/i>
\nRoybet took the power of form, and from Rembrandt, the fervor of his quest for
\nthe soul of the model. The artist paints with a quick and precise touch these
\ncharacters dressed in the fashion of the XVIIth century.<\/span><\/i>
\na gentleman standing proudly with one hand on his hip, is an admirably
\nsuccessful work by Roybet, whose abundant output is sometimes less
\naccomplished. The artist manages to represent the character with a remarkable
\nrealism. One will note the perfect balance of the composition, the care given
\nto the smallest details, the richness of the costume, the gracefulness of the
\nposture, the expressive face of the character, the intensity of his look. With
\ntalent, the artist offers us a particularly lively portrait.<\/span><\/i>
\n:<\/span><\/u><\/i>
\nFrance<\/span><\/i>
\nFrance<\/span><\/i>
\nOrsay Museum<\/span><\/i>
\nFrance<\/span><\/i>
\nYork City, New York<\/span><\/i>
\nVolume XII, pages 58-59.<\/span><\/i>
<\/p>\n","protected":false},"excerpt":{"rendered":"
\nfran\u00e7aise<\/span>
\nsur panneau d\u2019acajou sign\u00e9e en bas \u00e0 droite<\/span>
\n: H. 60\u00a0\u00a0x L. 45 cm<\/span>
\ncadre\u00a0: H. 90,5\u00a0\u00a0x L. 75 cm<\/span>
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