Jean Beraud Biography | Oil Painting Reproductions
1-12-1849 St Petersburg, RUS - 10-4-1935 Paris, FRABack to Artist IndexView Artists Paintings
Jean Béraud was born in Saint Petersburg, Russia. His dad (likewise called Jean) was a sculptor and was working at the site of St. Isaac's Cathedral at the time of his child's birth. After the death of Béraud's dad, the family moved to Paris. Béraud was being taught as a lawyer until the occupation of Paris during the Franco-Prussian war in 1870.
Jean Béraud became an understudy of Léon Bonnat and displayed his paintings at the Salon in 1872. He did not gain recognition until 1876, with his Leaving Montmartre Cemetery AKA On the Way Back from the Funeral.
He painted numerous scenes of Parisian daily life during the Belle Époque in a style that stands somewhere close to the Academic Art of the Salon and that of the Impressionists. He got the Légion d'honneur in 1894.
Jean Béraud Between Academic Art and the Impressionists.
Béraud's oil paintings regularly included truth-based humor and mockery of late 19th-century Parisian life, alongside incessant appearances of scriptural characters in then contemporary circumstances. Mary Magdalene in the House of the Pharisees aroused controversy when shown, in view of the theme.
Towards the end of the nineteenth century, Jean Béraud devoted less time to his own composition however worked at various exhibition committees, including the Salon de la Société Nationale. Béraud never wedded and had no kids.
His work was totally overlooked by art historians of the period. After the Revolution, Russian artists received Béraud's work with irony, considering them to be the exemplification of the Western commercial consumption, for the rich middle-class tastes. His painting style slowly moved from Academic towards Impressionism. Be that as it may, while the real Impressionists fled the chaotic Paris and painted scenes of the encompassing areas, Jean Béraud, like his companion Édouard Manet, and in some of their canvases, Edgar Degas, portrayed the urban life.
Aesthetic methods utilized by Béraud, specifically, when drawing À la Salle Graffard, later became a classic. The top part of the painting is hidden in a light haze, the musicians and spectators are shown in the foreground, while performers stand out against a darker background.
Art Movement History: Realism
Artists Influencing Jean Béraud: Leon Bonnat