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REGNAULT, HENRI (1843-1871)

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Originally appearing in Volume V23, Page 46 of the 1911 Encyclopedia Britannica.
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REGNAULT, See also:HENRI (1843-1871) , See also:French painter, See also:born at See also:Paris on the 31St See also:October 1843, was the son of Henri See also:Victor Regnault (q.v.). On leaving school he successively entered the studios of See also:Montfort, Lamothe and See also:Cabanel, was beaten for the See also:Grand Prix (1863) by Layraud and Montchablon, and in 1864 exhibited two portraits in no See also:wise remarkable at the See also:Salon. In 1866, however, he carried off the Grand Prix with a See also:work of unusual force and distinction—" See also:Thetis bringing the Arms forged by See also:Vulcan to See also:Achilles " (School of the See also:Fine Arts). The past in See also:Italy did not See also:touch him, but his illustrations to Wey's See also:Rome show how observant he was of actual See also:life and See also:manners; even his " Automedon " (School of Fine Arts), executed in obedience to Academical regulations, was but a lively recollection of a See also:carnival See also:horse-See also:race. At Rome, moreover, Regnault came into contact with the See also:modern Hispano-See also:Italian school, a school highly materialistic and inclined to regard even the human subject only as one amongst many See also:sources whence to obtain amusement for the See also:eye. The vital, if narrow, See also:energy of this school told on Regnault with ever-increasing force during the few remaining years of his life. In 1868 he had sent to the Salon a life-See also:size portrait of a See also:lady in which he had made one of the first attempts to render the actual See also:character of fashionable modern life. While making a tour in See also:Spain, he saw See also:Prim pass at the See also:head of his troops, and received that lively See also:image of a military See also:demagogue which he afterwards put on See also:canvas, somewhat to the displeasure of his subject. But this work made an See also:appeal to the See also:imagination of the public, whilst all the later productions of Regnault were addressed exclusively to the eye. After a further See also:flight to See also:Africa, abridged by the necessities of his position as a pensioner of the school of Rome, he painted " See also:Judith," then (187o) " See also:Salome," and, as a work due from the See also:Roman school, despatched from See also:Tangier the large canvas, " See also:Execution without See also:Hearing under the Moorish See also:Kings," in which the painter had played with the See also:blood of the victim as if he were a jeweller toying with rubies. The See also:war arose, and found Regnault foremost in the devoted ranks of Buzenval, where he See also:fell on the 19th of See also:January 1871. See Correspondance de H.

Regnault; Duparc, H. Regnault, sa See also:

vie et son muvre; See also:Cazalis, H. Regnault, 1843-1871; Bailliere, See also:Les Artistes de mon temps; C. See also:Blanc, H. Regnault; P. Mantz, See also:Gazette See also:des See also:Beaux Arts (1872).

End of Article: REGNAULT, HENRI (1843-1871)

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