Joseph-Benoît Suvée, 1743-1807

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Joseph-Benoît Suvée , 1743-1807

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Sophie Join-Lambert; Anne Leclair; Denis Coekelberghs
Joseph-Benoît Suvée, 1743-1807: An artist between Bruges, Rome and Paris

Arthena 2017, cardboard binding, 440 pp., 330 x 250 x 35 mm, ill. in color / n / b. Small wear in corners & head cape .

« Trained in Bruges, Suvée perfected in Paris in the Bachelor workshop. In 1771, he was a winner of the Academy Grand Prix, ahead of David who kept him a tenacious resentment. In Rome, the resident of the Academy of France shows a lively curiosity for ancient sites. He produced many drawings, some, admirable, reveal one of the most gifted designers of his generation. In 1779, back in Paris, he was received at the Royal Academy. He will now play a leading role. The paintings he regularly exhibits at the show from 1779 to 1796 testify to unreserved membership in neoclassicism. Some works are very successful, whether paintings of national history, ancient history or religious paintings. At the same time, he paints many portraits with moving realism, the most famous being those of his companions of misfortune detained with him during the terror in Saint-Lazare, in particular that of the poet André Chénier. In 1801, Suvée took over the management of the Academy of France in Rome. It is under his leadership that a new generation of artists, including Ingres, complete their training. Outstanding designer, delicate and innovative painter, recognized pedagogue, Suvée, European artist between Bruges, Paris and Rome, fully belongs to the world of lights. « 

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« Trained in Bruges, Suvée perfected in Paris in the Bachelor workshop. In 1771, he was a winner of the Academy Grand Prix, ahead of David who kept him a tenacious resentment. In Rome, the resident of the Academy of France shows a lively curiosity for ancient sites. He produced many drawings, some, admirable, reveal one of the most gifted designers of his generation. In 1779, back in Paris, he was received at the Royal Academy. He will now play a leading role. The paintings he regularly exhibits at the show from 1779 to 1796 testify to unreserved membership in neoclassicism. Some works are very successful, whether paintings of national history, ancient history or religious paintings. At the same time, he paints many portraits with moving realism, the most famous being those of his companion