{"id":4853,"date":"2022-02-01T18:54:02","date_gmt":"2022-02-01T17:54:02","guid":{"rendered":"https:\/\/artesepia.com\/FG1495-ovh\/?p=4853"},"modified":"2023-04-15T17:53:36","modified_gmt":"2023-04-15T15:53:36","slug":"85-dessins-issus-de-latelier-de-jules-machard-sampans-1839-meudon-1900","status":"publish","type":"post","link":"https:\/\/drawings-online.com\/en\/85-drawings-from-the-studio-of-jules-machard-sampans-1839-meudon-1900\/","title":{"rendered":"85 drawings from the studio of Jules Machard (Sampans 1839 - Meudon 1900)"},"content":{"rendered":"
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Having acquired a certain level of fame with his portraits of women, from 1875 onwards, Jules Machard relished a growing notoriety within the Parisian milieu. Marcel Proust in Du cote de chez Swann<\/em> evokes this success in a dialogue exchanged between Madame Cottard and Swann: “I am not asking you, Sir, if a man of action like you has seen Machard\u2019s portrait at Les Mirlitons, which is the talk of Paris? Well what do you say? Are you on the side of those who approve or those who blame? In all the salons, the talk is of nothing but Machard\u2019s portrait; one is not chic, one is not pure, one is not in the know if one does not give one\u2019s opinion on Machard’s portrait.<\/em>“[1]<\/a><\/p>\r\n\r\n\r\n\r\n

 <\/div>\r\n\r\n\r\n\r\n\r\nBorn in 1839 in Sampans near Dole in the Jura region of France, Machard came from a modest background. At his father\u2019s request, Machard was destined to go to Ponts et Chauss\u00e9es <\/em>(School of Civil Engineers, Bridges and Roadways) from the age of seventeen. He went to Lyon for a while as a draughtsman for the railway administration and then as a bridge and road agent. Machard returned to Besan\u00e7on where his family had settled to begin his artistic career in the painter, \u00c9douard Baille\u2019s studio (1814-1888). Baille passed on the academic lessons of David’s school. In 1861, Machard obtained a pension and left for Paris to attend the \u00e9cole des Beaux-Arts, the most elevated of its kind at the time. He frequented the studios of painters \u00c9douard Picot (1786-1868) and \u00c9mile Signol (1804-1892) and perfected his technique by preparing for various Fine Art competitions. In 1863, Machard exhibited two male portraits at the Salon and in 1864, presented a sketch for the first stage of the Prix de Rome, but despite some success, illness prevented him from getting any further that year. He won the prize the following year with a painting depicting Orph\u00e9e descendu aux enfers demander Eurydice<\/em><\/a> (Orpheus Descending into hell Asking for Eurydice, Paris, \u00e9cole Sup\u00e9rieure des Beaux-Arts, inv. PRP 116).\r\n\r\n\r\n\r\n\r\n
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Fig.1<\/figcaption><\/figure>\r\n\r\nIn January 1866, Machard travelled to Italy where he joined the Acad\u00e9mie de France in Rome, a breeding ground for young talent. In 1867, his first delivery, Le Cadavre du dernier fils de Fr\u00e9d\u00e9gonde retrouv\u00e9 par un p\u00eacheur (The Corpse of the Last Son of Fr\u00e9d\u00e9gonde Found by a Fisherman) was bought by Louis Pasteur despite a very mixed reception from the Beaux-Arts administration. During his stay at the Villa Medici, Machard painted many portraits, a genre that he began to appreciate and which made him very popular while also enabling him to earn some money. The discovery of the Venetian master colourists \u2013Titian, Veronese and Tintoretto \u2013 also marked his works with the influence of their chromatic palette. In 1869, Machard sent two canvases to the \u00e9cole des Beaux-Arts in Paris, including his famous Ang\u00e9lique attach\u00e9e au rocher (Ang\u00e9lique Chained to the Rock) (fig. 1, cf. ma034<\/a><\/strong>, ma158<\/a><\/strong><\/em>[2]<\/em><\/a>) that garnered a \u201ctr\u00e8s grand succ\u00e8s dans les comptes-rendus de la presse et du public<\/em>\u201c (great success in press reports and from the public[3]<\/em><\/a>). Machard devoted himself to the nude, often developing lascivious poses executed in a meticulous technique: he is guided by the idea of \u200b\u200bgrandiose simplicity and an ideal of purity inspired by ancient art and especially Greek art.\r\n\r\n\r\n\r\n\r\n
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Fig.2<\/figcaption><\/figure>\r\n\r\n
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Fig.3<\/figcaption><\/figure>\r\n\r\nIn 1870, Machard presented a composition illustrating La Mort de M\u00e9duse<\/em><\/a> (The Death of Medusa, fig. 2, cf. ma082<\/a><\/strong>[4])<\/a> and the following year, Narcisse et la Source<\/em>  (Narcissus and the Spring, fig. 3[5].<\/em><\/a> In 1874, he painted S\u00e9l\u00e9n\u00e9<\/em><\/a> [6]<\/em><\/a>, a personification of the Moon that won him a very positive reception and went on to serve as a model for a tapestry produced by the Gobelins workshop[7]<\/a>.\r\n\r\n\r\n\r\n\r\n
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Fig.4<\/figcaption><\/figure>\r\n<\/div>\r\n\r\n\r\n\r\n\r\nBack in Paris, Machard is already well known for his Salon paintings and his popular portraits. It is believed that he painted more than three hundred such portraits during his entire career (cf. ma009<\/a><\/strong>, ma038<\/a><\/strong>, ma110<\/a>, ma111<\/a><\/strong>, ma194<\/a><\/strong>). In 1875, Machard married Ernestine Louise Marie Al\u00e9o, a woman of Cuban origin, who often posed as his model (Portrait de madame Jules Machard<\/em><\/a>, fig. 4, cf. ma008<\/a><\/strong>[8]<\/a>).\r\n\r\n\r\n\r\n\r\n
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Fig.5 & Fig.6<\/figcaption><\/figure>\r\n\r\nThis was the same year that the Marquis de Chennevi\u00e8res, director of Beaux Arts, commissioned four panels from Machard illustrating the life of the Virgin, destined for the Church of Notre-Dame de la Croix on the M\u00e9nilmontant hill. Machard only produced The Visitation<\/em><\/a> and the Stabat Mater<\/em><\/a> (fig. 5 and 6, cf.  ma128<\/a><\/strong>, ma129<\/a><\/strong>, ma130<\/a><\/strong>, ma136<\/a><\/strong>, ma137<\/a><\/strong>, ma146<\/a><\/strong>, ma174<\/a><\/strong>, ma188<\/a><\/strong>), unable to continue due to health problems.\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n\r\n
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Fig.7<\/figcaption><\/figure>\r\n\r\nThe remaining two canvases \u2013 The Annunciation and The Visitation, would be completed by one of his peers, Alphonse Monchablon (1835-1907). These works remain rare examples of religious paintings within the artist’s corpus, together with the Inspiration de sainte C\u00e9cile (Inspiration of Saint Cecilia, fig. 7, cf. ma005<\/a><\/strong>, ma006<\/a><\/strong>, ma075<\/a><\/strong>, ma076<\/a><\/strong>), completed in 1878<\/em>[9]. <\/em><\/a>Machard also tried his hand at decorative painting, in particular ceiling paintings such as those executed in London in 1876 for Montagu House castel, Psych\u00e9 emport\u00e9e par Z\u00e9phyr <\/em>and Psych\u00e9 rendue \u00e0 l’Amour<\/em> (Psyche Carried Away by Zephyr and Psyche Returned to Love), and in 1877, Le Passage de V\u00e9nus<\/em> (The Passage of Venus) painted for the Duke and Duchess of Buccleugh (cf. ma040<\/a>, ma104<\/a>, ma105<\/a>, ma106<\/a>, ma107<\/a>, ma126<\/a>, ma139<\/a>, ma141<\/a>, ma142<\/a>, ma143<\/a>, ma144<\/a>, ma145<\/a>, ma147<\/a>, ma150<\/a>, ma173<\/a>, ma176<\/a>, ma177<\/a>, ma186<\/a>, ma189<\/a>, ma196<\/a><\/strong>). Machard devoted the last years of his life to painting portraits. He died of illness in September 1900 in Meudon.\r\n\r\n\r\n\r\n\r\n
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Machard, who has long been classed in the category of peintre pompier <\/em>(perjorative term for academicism), probably suffered from a lack of confidence and will which made him sacrifice his talent on the altar of mondaine portraits. Perhaps he is not equal to a Bouguereau, a G\u00e9rome, a Gervex or a Carolus-Duran, but his drawings often testify to a great freedom and even to virtuosity.  The knowledge that we have of this painter has been greatly enriched thanks to the Dole retrospective of 2003 and the fascinating catalogue written by Virginie Frelin and Elisabeth Coulon[10]<\/a>. Their title, Jules Machard<\/em> et le culte de la ligne<\/em> (Jules Machard and the Cult of the Line) illustrates the artist’s talent as a draughtsman who produced multiple studies of putti and women with graceful expressions combining charm and delicacy in an undulating line, to perfection (cf. ma131<\/a><\/strong>, ma140<\/a><\/strong>, ma145<\/a><\/strong>, ma171<\/a><\/strong>, ma172<\/a><\/strong>, ma191<\/a><\/strong>). During Machard\u2019s \u201cItalian years\u201d, his sketchbooks were filled, \u201cwith studies after nature, from antiquity and after<\/em> the great masters, using all modes of interpretation: pen, black pencil, pastel, red chalk, watercolour, from sketch to sketch<\/em> (\u2026)[11]<\/a>\u201d Qualified as an academic draughtsman and “pompier”, Machard also expressed himself in more complex compositions that combine the rapidity and vigour of his line: \u201cHis best pieces are those where the fury of the pencil or the pen gives life to a swirling sketch, apparently confused, but where the hand finally asserts itself and gives power and emotion to the drawing<\/em>[12]<\/em><\/a>.\u201d There are still, however, periods and areas of Machard’s personality to be explored. What to think, for example, of his many drawings (cf. ma015<\/a><\/strong>, ma018<\/a><\/strong>, ma019<\/a>, ma041<\/a><\/strong>, ma042<\/a><\/strong>, ma057<\/a><\/strong>, ma058<\/a><\/strong>, ma059<\/a><\/strong>, ma061<\/a><\/strong>, ma062<\/a><\/strong>, ma063<\/a><\/strong>, ma125<\/a><\/strong>) which do not correspond to any known pictorial composition and that we suppose date from the last years of his life, bringing together in a systematic way, the figures of Love and Death?<\/p>\r\n\r\nDiscover all the drawings presented by Drawings-online.<\/a>\r\n\r\n

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Discover all the drawings presented by Drawings-online.<\/a><\/p>\r\n\r\n\r\n\r\n

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\r\n\r\n\r\n[1]<\/a> Marcel Proust, Du c\u00f4t\u00e9 de chez Swann<\/em>, (Swann\u2019s Way) 1st <\/sup>edition, 1913, Gallimard, 1946, p. 210<\/a>.\r\n\r\n\r\n\r\n\r\n\r\n[2]<\/a> Dole, Mus\u00e9e des Beaux-Arts, inv. 78.\r\n\r\n\r\n\r\n\r\n\r\n[3]<\/a> Victor Guillein, \u201cNotice sur le peintre Jules Machard, associ\u00e9 correspondent franc-comtois\u201d (Notice on the painter Jules Machard, associate correspondent from Franche-Comt\u00e9), Acad\u00e9mie de Sciences, Arts et Belles Lettres de Besan\u00e7on, <\/em>1901, p.LIII.\r\n\r\n\r\n\r\n\r\n\r\n[4]<\/a> Besan\u00e7on, Mus\u00e9e des Beaux-Arts, inv. D.874.1.1<\/a>.\r\n\r\n\r\n\r\n\r\n\r\n[5]<\/a> Chartres, Mus\u00e9e des Beaux-Arts, inv. 3811.\r\n\r\n\r\n\r\n\r\n\r\n[6]<\/a> Today held at the Chimei Museum, Taiwan.\r\n\r\n\r\n\r\n\r\n\r\n[7]<\/a> Woven between 1874 and 1878, Gobelins Factory, Paris, inv. GOB-112-000.\r\n\r\n\r\n\r\n\r\n\r\n[8]<\/a> Arras, mus\u00e9e des Beaux-arts, inv. D. 929.1.\r\n\r\n\r\n\r\n\r\n\r\n[9] <\/a> Sketch for the painting presented at the 1878 Salon, Le Mans, Mus\u00e9e de Tess\u00e9, inv. 10.1172.\r\n\r\n\r\n\r\n\r\n\r\n[10]<\/a> Virginie Frelin and Elisabeth Coulon,  Jules Marchard et le Culte de le Ligne <\/em>(Jules Marchard and the Cult of the Line), exhibition catalogue, 4th<\/sup> April \u2013 15th<\/sup> June, 2003, Mus\u00e9e des Beaux-Arts de Dole.\r\n\r\n\r\n\r\n\r\n\r\n[11]<\/a> Charles Baille, Le Peintre Jules Machard (1839-1900) <\/em>( The Painter, Jules Machard), <\/em>printing, Abel Cariage, Besan\u00e7on, 1900, p.10\r\n\r\n\r\n\r\n\r\n\r\n[12]<\/a> Virginie Frelin, op. cit<\/em>, p. 133.\r\n\r\n","protected":false},"excerpt":{"rendered":"

  Having acquired a certain level of fame with his portraits of women, from 1875 onwards, Jules Machard relished a growing notoriety within the Parisian milieu. Marcel Proust in Du cote de chez Swann evokes this success in a dialogue exchanged between Madame Cottard and Swann: “I am not asking you, Sir, if a man […]<\/p>\n","protected":false},"author":6,"featured_media":5384,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_themeisle_gutenberg_block_has_review":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[341,45],"tags":[239,356,133,354],"class_list":["post-4853","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-workshop","category-focus","tag-19th","tag-artiste-franc-comtois","tag-artists-studio","tag-19th-century-drawings"],"yoast_head":"\n85 drawings from the studio of Jules Machard (Sampans 1839 - Meudon 1900)<\/title>\n<meta name=\"description\" content=\"  Having acquired a certain level of fame with his portraits of women, from 1875 onwards, Jules Machard relished a growing notoriety within the Parisian milieu. 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