{"id":6540,"date":"2023-03-21T17:30:16","date_gmt":"2023-03-21T17:30:16","guid":{"rendered":"https:\/\/galerieballesteros.fr\/portfolio-items\/romantic-italian-landscape-by-jean-joseph-xavier-bidauld\/"},"modified":"2025-10-01T16:05:27","modified_gmt":"2025-10-01T16:05:27","slug":"romantic-italian-landscape-by-jean-joseph-xavier-bidauld","status":"publish","type":"avada_portfolio","link":"https:\/\/galerieballesteros.fr\/en\/portfolio-items\/romantic-italian-landscape-by-jean-joseph-xavier-bidauld\/","title":{"rendered":"Jean-Joseph-Xavier BIDAULD – Romantic Italian landscape"},"content":{"rendered":"

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Jean-Joseph-Xavier BIDAULD (1758- 1846 )<\/h2>\n

A romantic Italian landscape by Jean Joseph Xavier Bidauld representing a mountain view with a waterfall in Italy, dated 1823 painted on the motif.<\/strong><\/p>\n

Oil on canvas
\nSigned and dated on the right side.
\nPeriod inscription on the back of the frame: “Bidauld, la grotte…”
\nNumbered 81 on the stretcher and frame.
\nDimensions: 17 x 14 cm
\nWith frame: 30 x 27 cm<\/h6>\n
SOLD<\/h6>\n
<\/div><\/div><\/span><\/h6>\n

Jean Joseph Xavier Bidauld, a landscape painter in Italy<\/h3>\n

In this romantic painting by Jean Joseph Xavier Bidauld nature is honored; the painter expresses his emotion in front of a grandiose Italian landscape.
\nThree characters in the alcove of the rocks enjoy the beauty of the view. They are tiny in the face of the grandeur of the elements.<\/p>\n

A romantic Italian landscape painted on site<\/h3>\n

The small format of the work is conducive to painting on the ground.
\nOur painting perfectly illustrates Jean Joseph Xavier Bidauld’s practice of sketching in the open air; his taste for unprecedented views and sites, grandiose which diversify the points of view, the mountains, the rocks where vegetation and waterfalls cling to him, which he transcribes with a meticulous and supple writing.
\nHis palette favors ochre and red tones and the range of greens<\/p>\n

In the second half of the 18th century, the practice of landscape sketching, done in oil and in the open air, spread widely throughout Europe. From all over Europe, artists flocked to Italy to paint the monuments of Rome and the idealized landscapes of the Roman countryside. The school led by Pierre-Henri de Valenciennes and Jean-Joseph-Xavier Bidauld is part of this European movement. These landscape painters of the first half of the nineteenth century are now considered the very first plein air painters, although their compositions are still idealized. These artists took a first step towards a new vision of landscapes in painting until the emergence of the landscapes of the new generation of the Barbizon School.<\/p>\n

“Mr. Bidauld had pushed the passion of the landscape to the point of going to establish himself for months in front of a site, with a canvas of three or four feet, to paint on the spot all day […] in spite of the accidents even of the temperature, and to leave his post only after having finished his painting “.<\/p>\n

<\/h4>\n

Bibliography<\/h4>\n

The first landscape painter to be admitted to the Acad\u00e9mie des Beaux Arts in 1823, Bidauld belongs to the first generation of classical landscape painters of which he is, with J. V. Bertin, N. Didier Boguet and Valenciennes, one of the best representatives.
\nHis brother gave him his first artistic training, then Jean-Joseph-Xavier studied at the School of Fine Arts in Lyon. He was influenced by Dutch painting, and a trip to Geneva introduced him to high-mountain landscapes.
\nIn 1783, Bidauld was in Paris and received advice from J. Vernet. As an authentic pioneer, he made studies on the spot in the forest of Fontainebleau. At first an ardent defender of the historical landscape, he opposed the new naturalist school. His trip to Italy from 1785 to 1790 and the many oil paintings he made on the spot were to prove decisive, enabling him to find his own expression and define his style.
\nOn his return to Paris, he exhibited at the Salon de Paris for the first time in 1791, where he remained until 1844. He won a gold medal in 1812. He quickly became successful and received a prize for encouragement<\/p>\n

Bibliography<\/h4>\n

– Lydia Harembourg – “Dictionary of French landscape painters in the 19th century”.<\/p>\n

-Casimir-Fran\u00e7ois-Henri Barjavel, Dictionnaire historique, biographique et bibliographique du d\u00e9partement de Vaucluse, Carpentras, C.F.H. Barjavel, 1841, t. I, No. 5<\/p>\n

– Ernest Chesneau, Art in the Imperial Residences. Compi\u00e8gne, Paris, E. Panckoucke et Cie, 1863, p. 46.<\/p>\n

– Marie-Madeleine Aubrun, “La tradition du paysage historique et le paysage naturaliste dans la premi\u00e8re moiti\u00e9 du xixe si\u00e8cle fran\u00e7ais,” L’Information d’histoire de l’art, no. 2, March-April 1968, pp. 63-72, repr. fig. 2, p. 65.<\/p>\n

– Suzanne Gutwirth, “Jean-Joseph Bidauld. Une sensibilit\u00e9 n\u00e9oclassique,” in Jean-Joseph-Xavier Bidauld (1758-1846). Paintings and drawings [cat. exp. Carpentras, Mus\u00e9e Duplessis; Angers, Mus\u00e9e des Beaux-Arts; Cherbourg, Mus\u00e9e Thomas-Henry, 1978], Nantes, imp. Chiffoleau, 1978, n.p.<\/p>\n

– \u00c9lisabeth Foucart-Walter, Illustrated summary catalog of paintings in the Louvre and the Mus\u00e9e d’Orsay. V. French school. Appendices and index. Liste des tableaux d\u00e9pos\u00e9s par le Louvre, Paris, R\u00e9union des mus\u00e9es nationaux, 1986, p. 205.<\/p>\n

-Jean-Marie Moulin, Guide du Mus\u00e9e national du ch\u00e2teau de Compi\u00e8gne, Paris, R\u00e9union des mus\u00e9es nationaux, 1992, p. 49.<\/p>\n

Museums<\/h4>\n

United States<\/p>\n

– Los Angeles, Getty Center<\/p>\n

– New York, Metropolitan Museum of Art<\/p>\n

France<\/p>\n

– Avignon, Calvet museum<\/p>\n

– Carpentras, Comtadin-Duplessis Museum<\/p>\n

– Cherbourg-Octeville, Thomas Henry Museum:<\/p>\n

– Dijon, Magnin Museum:<\/p>\n

– Grenoble, Grenoble Museum<\/p>\n

– Lyon, Museum of Fine Arts<\/p>\n

– Meudon, Museum of Art and History<\/p>\n

– Toulouse, Augustins museum<\/p>\n

– Valencia, Museum of Art and Archaeology<\/p>\n

Paris:<\/p>\n

-Louvre Museum :<\/p>\n

View from Subiaco, 1789, oil on paper pasted on canvas,<\/p>\n

View of the town of Avezzano, on the shores of Lake Cellano, Naples<\/p>\n

Landscape of Italy: view of Isola del Liri, near Sora, 1792-1793,<\/p>\n

Landscape of Italy, 1793,<\/p>\n

Historical Landscape: Psyche and the God Pan, ca. 1819,<\/p>\n

-Mus\u00e9e Marmottan Monet : The Castle of Sc\u00f6nbrunn, 1810,<\/p>\n

With Carle Vernet, Promenade de Napol\u00e9on Ier et de Marie-Louise auch\u00e2teau de Saint-Cloud, 1811,<\/p>\n

Source<\/h4>\n

https:\/\/www.chateau-maisons.fr\/Explorer\/Nos-collections\/paysage-monumental-d-Italie-de-1820<\/p>\n

https:\/\/compiegne-peintures.fr\/notice\/notice.php?id=11<\/p>\n<\/div><\/div><\/div><\/div><\/div>

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