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GRANET, FRANCOIS MARIUS (1777-1849)
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See also:GRANET, See also:FRANCOIS See also:MARIUS (1777-1849) , See also:French painter, was See also:born at See also:Aix in See also:Provence, on the 17th of See also:December 1777; his See also:father was a small builder. The boy's strong desires led his parents to See also:place him—after some preliminary teaching from a passing See also:Italian artist—in a See also:free school of See also:art directed by M. Constantin, a landscape painter of some reputation. In 1793 Granet followed the See also:volunteers of Aix to the See also:siege of See also:Toulon, at the See also:close of which he obtained employment as a decorator in the See also:arsenal. Whilst a lad he had, at Aix, made the acquaintance of the See also:young See also:comte de See also:Forbin, and upon his invitation Granet, in the See also:year 1797, went to See also:Paris. De Forbin was one of the pupils of See also:David, and Granet entered the same studio. Later he got See also:possession of a See also:cell in the See also:convent of See also:Capuchins, which, having served for a manufactory of See also:assignats during the Revolution, was afterwards inhabited almost exclusively by artists. In the changing See also:lights and shadows of the corridors of the Capuchins, Granet found the materials for that one picture to the See also:painting of which, with varying success, he devoted his See also:life.
In 1802 he See also:left Paris for See also:Rome, where he remained until 1819, when he returned to Paris, bringing with him besides various other See also:works one of fourteen repetitions of his celebrated Choeur See also:des Capucins, executed in 1811. The figures of the monks celebrating See also:mass are taken in this subject as a substantive See also:part of the architectural effect, and this is the See also:case with all Granet's works, even with those in which the figure subject would seem to assert its importance, and its See also:historical or romantic See also:interest. " Stella painting a Madonna on his See also:Prison See also:Wall," 1810 (Leuchtenberg collection); " See also:Sodoma a 1'hopital," 1815 (Louvre); " Basilique basse de St Francois d'See also:Assise," 1823 (Louvre); " Rachat de prisonniers," 1831 (Louvre); " Mort de Poussin," 1834 (See also:Villa Demidoff, See also:Florence), are among his See also:principal works; all are marked by the same peculiarities, everything is sacrificed to See also:tone. In 1819 See also: He became member of the See also:institute in 183o; but in spite of these honours, and the ties which See also:bound him to M. de Forbin, then director of the Louvre, Granet constantly returned to Rome. After 1848 he retired to Aix, immediately lost his wife, and died himself on the 21st of See also:November 1849. He bequeathed to his native See also:town the greater part of his See also:fortune and all his collections, now exhibited in the Musee, together with a very See also:fine portrait of the donor painted by See also:Ingres in 1811. Additional information and CommentsThere are no comments yet for this article.
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