Pierre-Paul Prud'hon

Paintings

Portrait of the Empress Joséphine

Rutger Jan Schimmelpenninck and his family

Psyche is kidnapped by the winds

Triumph of Bonaparte and Peace (Sketch)

Venus and Adonis

Venus Bathing or Innocence

The Assumption of the Virgin

Drawings

The Cruel laughs at himself

Wisdom and Truth

Reclining nude

Paris and Helena

Portrait of Count Sommariva

Half-length Female Nude

Male Nude Turning

Standing Female Nude Seen from the Back

Pierre-Paul Prud'hon (April 4, 1758 – February 16, 1823) was a French Romantic painter and draughtsman best known for his allegorical paintings and portraits.

Life and work

Pierre-Paul Prud'hon was born in Cluny, Saône-et-Loire. He received his training in the French provinces and went to Italy when he was twenty-six years old to continue his education. On his return to Paris, he decorated some private mansions and his work for wealthy Parisians led him to be held in high esteem at Napoleon's court.

His painting of Josephine portrays her, not as an Empress but as a lovely attractive woman which led some to think that he might have been in love with her. After the divorce of Napoleon and Josephine, he was also employed by Napoleon' s second wife Marie-Louise.
darkly shaded painting of two winged angels chasing man who runs away from a fallen, naked body
Pierre-Paul Prud'hon. Justice and Divine Vengeance Pursuing Crime (1808). The darkness and the sprawling naked figure anticipate Théodore Géricault's painting The Raft of the Medusa.[1]

Prud'hon was at times clearly influenced by Neo-classicism, at other times by Romanticism. Appreciated by other artists and writers like Stendhal, Delacroix, Millet and Baudelaire for his chiaroscuro and convincing realism, he is probably most famous for his Crucifixion (1822), which he painted for St. Etienne's Cathedral in Metz. Crucifixion now hangs in the Louvre.

The young Théodore Géricault had painted copies of work by Prud'hon, whose "thunderously tragic pictures" include his masterpiece, Justice and Divine Vengeance Pursuing Crime, where oppressive darkness and the compositional base of a naked, sprawled corpse obviously anticipate Géricault's painting The Raft of the Medusa.[1]

Notes and references

1. ^ a b Gayford, Martin. "Distinctive power". The Spectator, November 1, 1997. Retrieved from findarticles.com on January 6, 2008.

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