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Jean Béraud

France (1849 -  1935 ) Wikipedia® : Jean Béraud
BÉRAUD Jean Une Parisienne

New Orleans Auction /May 21, 2016
131,475.15 - 219,125.25
142,431.25

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Along with Jean Béraud, our clients also searched for the following authors:
Hendrik Pieter Koekkoek, Henri Joseph Harpignies, Marcus C. Stone, Hippolyte-Camille Delpy, Frederick Morgan, John Atkinson Grimshaw, John Emms
Artworks in Arcadja
212

Some works of Jean Béraud

Extracted between 212 works in the catalog of Arcadja
Jean Béraud - French Après L'office À L'église De La Sainte Trinité, Noël 1890

Jean Béraud - French Après L'office À L'église De La Sainte Trinité, Noël 1890

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Lot number: 18
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Jean Béraud FRENCH APRÈS L'OFFICE À L'ÉGLISE DE LA SAINTE TRINITÉ, NOËL 1890 1849 - 1935 signed Jean Béraud (lower right) oil on panel 19 7/8 by 26 1/2 in. 50.5 by 67.3 cm Provenance James Gordon Bennett, Jr. (acquired directly from the artist) Donated from the above in 1902 Exhibited Château de Blérancourt, Musée national de la Coopération franco-américaine, 1853-1947. Les Américains et la Légion d’’’’’’’’honneur, 1993, no. 14 Paris, Musée Carnavalet, on extended loan, 2000-2015 Literature The Paris Herald, Christmas issue, 1901, illustrated One Hundered Years of American Work and Worship in Paris, Paris, 1950, illustrated Patrick Offenstadt, Jean Béraud 1849-1935, The Belle Époque: A Dream of Times Gone By, catalogue raisonné, Cologne, 1999, p. 138, no. 124, illustrated Cameron Allen, The History of the American Pro-Cathedral of the Holy Trinity, Paris (1815-1980), Bloomington, Indiana, 2012, p. 499-500 Catalogue Note Jean Béraud’’’’’’’’s Après l'office à l'église de la Sainte Trinité, Noël, 1890, depicts elegant parishioners leaving the Church of the Holy Trinity, now known as The American Cathedral in Paris, on Christmas day. Men sport their fine coats and top hats, children are smartly dressed and women are adorned in furs and elaborate chapeaus with lace veils, their long dresses in hues of green and red. The parishioners’’’’’’’’ fashions and the carriages and drivers are punctuated with brilliant strokes of color, all serving to draw the viewer’’’’’’’’s eye to the two flags hanging over the church’’’’’’’’s entrance, sister ensigns that act as a clear and poignant symbol of Franco-American friendship. The Cathedral has a long history and played an important cultural role for Americans in Paris. In the 1870s, Dr. John B. Morgan, a cousin of J. P. Morgan, became Rector of Holy Trinity Parish in Paris and began a successful fundraising campaign for the church’’’’’’’’s expansion and the construction of what is now known as The American Cathedral in Paris on Avenue George V (then called Avenue d'Alma). The church was consecrated on Thanksgiving Day, November 25, 1886, coinciding with the dedication of the Statue of Liberty in New York and reinforcing cultural alliances between France and the United States. The Cathedral’’’’’’’’s iconic tower, among the tallest in Paris, was constructed in 1909, after the present work was painted. Après l'office à l'église de la Sainte Trinité, Noël, 1890 was commissioned by the American businessman, James Gordon Bennett, Jr., one of many influential Cathedral parishioners (a significant collection of paintings by Béraud, previously owned by parishioner Margaret Thompson Biddle, were sold in these rooms in May 2016). Bennett was the publisher of the New York Herald, the flagship newspaper founded by his father. In 1877, Bennett settled in France and launched the European edition of the newspaper, what is now known as the International Herald Tribune. Promoting cross-cultural friendship was likely Bennett’’’’’’’’s objective for the work, which he subsequently illustrated on the front page of the New York Herald’’’’’’’’s Christmas edition in 1901 and donated to the Cathedral in 1902. It is very possible that many of members of the parish can be identified in the painting, although no known documentation exists. As the popular chronicler of contemporary Parisian life, Béraud was the perfect choice to paint this winter morning in Paris. Intrigued by all aspects of la vie parisienne, Béraud was its scrupulous and devoted observer; the quintessential chronicler of Belle Époque Paris. Following the Franco-Prussian War (1870-71), Béraud abandoned previous plans to become a lawyer, and instead studied portraiture with a leading artist of the Third Republic, Léon Bonnat. Emulating Bonnat's choice of subject, Béraud painted portraits of women and children, as well as genre images of Italian peasant women. The artist began to branch out from portraiture around 1875, developing an interest in representing modern life in Paris. The spectacle of public spaces was a popular subject for French artists in the nineteenth century. Haussmannisation (1852-1870) – the urban planning commissioned by Napoleon III and lead by the Baron George Eugène Haussmann – introduced a public element to private life through wide boulevards for transportation and strolling; the American Cathedral is on the wide Avenue George V, just a few blocks south of the Champs Élysées. In showing members of different social strata mingling in these newly accessible public settings, artists such as Béraud could capture the modernization of Paris through the actions, dress, and appearances of its inhabitants. The painting remained at the Cathedral until 2000, after which time it was lent to the Musée Carnavalet, sharing wall space with many of Béraud’’’’’’’’s most iconic works and providing an additional glimpse of Parisian life at this colorful and exciting time in the country’’’’’’’’s history. Fig. 1 Early photograph of The American Cathedral in Paris, circa 1900
Jean Béraud -  Devant La Maison Paquin

Jean Béraud - Devant La Maison Paquin

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Lot number: 6
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Lot Details Lot 6 Jean Beraud French, 1849-1936 Devant La Maison Paquin Signed Jean Beraud (ll); incised JO/608 on the reverse Oil on panel 14 1/2 x 21 5/8 inches (36.8 x 55 cm) Provenance: Sale: New York, Waldorf Astoria, Mar. 8, 1901, Lot 24 Schweitzer Gallery, New York Sale: London, Sotheby's, Jun. 20, 1989, Lot 46, illus. Richard Green, London Private collection, Louisiana Exhibited: London, Richard Green, A Christmas Trilogy, Exhibition of XIXth and XXth Centuries European Paintings, 1989, no. 13, illus. Literature: Patrick Offenstadt, Jean Beraud, The Belle Epoque: A Dream of Times Gone By: Catalogue Raisonne, Cologne, 1999, p. 152, no. 146, illus. Patrick Offenstadt at the Fondation Wildenstein, Paris, issued a letter of authenticity for this work on October 30, 1989. The dressmaker Jeanne Paquin opened her fashion house on the rue du la Paix in 1891. The Maison Paquin quickly became known for its elegant evening gowns inspired by 18th-century dresses. Later Mme. Paquin gained a reputation as a modernist, even collaborating with such avant garde designers as Leon Bakst to create stage costumes. Jean Beraud painted several works featuring the Maison Paquin. C
Jean Béraud - Place Ensoleillée

Jean Béraud - Place Ensoleillée

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Lot number: 41
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Jean Béraud (French, 1849-1936) Place ensoleillée signed 'Jean Béraud' (lower left) oil on panel 8 ½ x 12 ½ in. (21.5 x 31.5 cm.) Jean Béraud’’’’’’’’s images of Parisian life earned him the high praise of being ‘Le Boilly de fin de siècle’’’’’’’’ from his contemporary, the art critic Roger Ballu (Le Salon illustré, July 1889). Béraud clearly loved the city, and his pictures chronicle the customs and fashions of his era with precise detail. Belle Époque journalist Paul Hourie wrote: ‘when you paint scenes from everyday life, you have to place them in their context and give them their authentic setting. This means that, in order to be sincere, you have to photograph them on the spot, and forget about the conventions of the studio. As a result, Jean Béraud has the strangest life imaginable. He spends all of this time in carriages. It is not unusual to see a cab parked on a corner of a street for hours on end, with an artist sitting inside, firing off rapid sketches. That’’’’’’’’s Jean Béraud in search of a scene, drawing a small fragment of Paris. Almost all the cab drivers in the city know him. He’’’’’’’’s one of their favorite passengers, because he at least does not wear their horses out’’’’’’’’ (Offenstadt, p. 9). Béraud was the perfect flâneur, ‘a passionate spectator whom we might liken to a mirror as vast as the crowd itself (V. Steele, Paris Fashion – A Cultural History, New York, 1988, p. 90). Béraud’’’’’’’’s Paris and its denizens were always captured with the accuracy of a camera lens. Béraud was a close friend of Edouard Manet, and frequented the same cafes, restaurants and theatres as Degas, Renoir and Toulouse Lautrec. He shared with the Impressionist artists a spontaneity of brushwork and interest in the naturalistic effects of the play of light and shadow across the boulevard and upon the buildings in the background, all of which are clearly evident in this painting.
Jean Béraud - Une Parisienne

Jean Béraud - Une Parisienne

Original 1880
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Lot number: 172
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Description: Jean Beraud (French, 1849-1935), "Une Parisienne", ca. 1880, oil on canvas, signed lower right "Jean Beraud", verso with a "Richard Green, London, U.K." gallery label and a letter of inclusion in the Catalogue Raisonne de l'oevre de Jean Beraud by Patrick Offenstadt, Fondation Wildenstein, Paris, 14" x 10". Presented in a period giltwood frame. Provenance: Richard Green Gallery, London, U.K; Christie's, New York, May 27, 1992, lot 60; Merryl Israel Aron, New Orleans, Louisiana. Jean Beraud initially began his career as a portraitist before finding his metier as a chronicler of middle-class urban life. His frequently rain-drenched street scenes depict the sophisticated, bustling denizens of Paris as they complete their often prosaic errands. A quintessential Belle Epoque painter, Beraud's subjects can be viewed as feminized versions of the flaneur or boulevardier so prevalent in the writings and art of the early 19th century. With his somewhat panoramic compositions, Beraud creates a sense of immediacy and vitality in these visual explorations of contemporary, everyday city life. As with the painting presented here, he intends for the viewer to perceive - to react to - a specific moment caught in time. To achieve this effect, Beraud had a cab specially rigged as a mobile studio, allowing him the ability to paint plein air scenes of the busy avenues and boulevards, unhindered by the activity around him. As a contemporary, the artist and journalist Henry Bacon (1839-1912) wrote in his "Glimpses of Parisian Art": "A cab...attracted our attention. Presently up went the curtain, and the familiar head of Beraud appeared. At his invitation, we thrust a head into the miniature studio to see his latest picture. His canvas was perched upon the seat in front, his color-box beside him..." Beraud studied law at the Lycee Bonaparte (now Lycee Condoret) before entering the atelier of the Academic painter Leon Bonnat (1833-1922). He had his debut at the Paris Salon in 1827, receiving a 3rd class medal in 1882 and a 2nd class medal in 1883; this last obtained for him the status of "hors concours", essentially allowing him the privilege of submitting to the Salon "at will". He was elected a chevalier of the Legion d' honneur in 1887 and was named an officier in 1894. References: Bretell, Richard R.; Tucker, Paul Hayes; Lee, Natalie H. Nineteenth and Twentieth Century Paintings in the Robert Lehman Collection . 2009. Princeton: The Princeton University Press in association with the Metropolitan Museum of Art. pp. 56-59.; Bacon, Henry. "Glimpses of Parisian Art". The Century Illustrated Monthly Magazine , Volume XXI, New York, 1886. Condition Report: Descriptions provided in both the print and on-line catalogues do not include condition reports. The absence of a condition report does not guarantee that a lot is in perfect condition or free from damage and/or wear. We strongly suggest that you request a condition report prior to bidding on any lot. All transactions are governed by New Orleans Auction Galleries? Conditions of Sale.
Jean Béraud - Le Pont De Bercy

Jean Béraud - Le Pont De Bercy

Original 1880
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Lot number: 53
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Jean Beraud (French, 1849-1936) Le Pont de Bercy, c. 1880 oil on canvas signed Jean Beraud (lower right) 18 1/4 x 22 inches. Property from a Private Collection, Lake Forest, Illinois Provenance: Private collection, Scotland Sold: Christie's, Glasgow, April 2, 1969, lot 70 Rutland Gallery, London Private collection, acquired from the above; thence by descent Sold: Sotheby's, London, November 16, 2005, lot 246 MacMonal Mason and Sons, Ltd., London Private collection, acquired by the present from the above Exhibited: London, Rutland Gallery, French and Belgian Painting Where they Meet and Diverge, 1969, no. 1 Literature: P. Offenstadt, Jean Beraud 1849-1935, The Belle Epoque, A Dream of Times Gone By, Catalogue Raisonne, Taschen, 1999, p. 156-157, no. 160, illus. London, Rutland Gallery, French and Belgian Painting Where they Meet and Diverge, exhibition catalogue, 1969, no. 1, illus. Described as "a sophisticated Parisian who knows where to go and has the gift for observation," Jean Beraud captured in his lively paintings the grand boulevards and stylish denizens of Belle Epoque Paris. Originally trained as an Academic artist, early in his career Beraud was influenced by the Impressionists, with their quick brushstrokes and urban themes. He was a close friend of Edouard Manet and frequented the same cafes as Edgar Degas, Pierre Renoir, and Henri Toulouse-Lautrec. Like them, Beraud sought to objectively convey the modernization of Paris caused by Baron Hausmann's physical reconfiguration of the city. Le Pont de Bercy displays Beraud's talent for depicting everyday life in Paris without sentimentality or picturesqueness. A man in a blue working smock converses with a smartly but soberly dressed woman. They stand on the banks of the Seine at Bercy, upstream from Paris. Originally a small, separate commune, Bercy was annexed in 1860 by the Second Empire. By the 1870s, it was developing into a residential and commercial quarter of Paris. Behind the couple can be seen the Pont de Bercy, completed in 1864, with a steady stream of traffic. Barges placidly float on the river and an idle work cart stands at the ready along the still incomplete river embankments. From the Impressionists, Be?raud also developed an interest in Japanese ukiyo-e prints, with their asymmetrical compositions. In the present work, elements of the Eastern art form can be seen in the artist's use of large expanses of empty space punctuated by dark figures, as well as the diagonal lines of the bridge and tram lines cutting across the canvas. The candid grouping of the couple, off-center focus and deep perspective likewise owe something to the new art of photography pioneered by Niépce, Daguerre and Fox Talbot. Beraud was known to sit and sketch in a hired carriage for hours in order to capture spontaneous fragments of the city's life, as if he himself was a roving camera. In both its subject matter and compositional structure, Le Pont de Bercy reveals the artist as one of the great nineteenth-century painters of modern life. Please contact us directly for a complete condition report.
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