Departure For The Hunt In The Pontine Marshes
Departure for the Hunt in the Pontine Marshes c1833 by French Painter Horace Vernet (1789 – 1863); known for his Portraits, Orientalist and Battlefield scenes.
This is an impressive forest landscape scene of hunters traversing a forest that is just of a coast that we can see in the background to the right.
There are four men and a boy, three of the men are riding on donkeys or mules and the boy is riding on a mule that is packing supplies that is being led by the last man that is walking.
There is also a last mule and dog walking in the lead, and off to the left in the scene are two other dogs that are near a bank of a pond, with one dog drinking from the pond.
In the forest there is a fallen up rooted tree that has fallen across the pond and that has almost all of it’s bark removed; with other dead still standing trees in the foreground in and near the pond.
In the background we can see the lush forest with the lighting illuminating the dead tree at the center of the image.
Departure for the Hunt in the Pontine Marshes is a retouched digital art old masters reproduction of a public domain image that is available for purchase as akrila, metalo, rolled and canvas prints online.
Informoj Malsupre Derivita De NGA.gov kaj Vikipedio.org
Horace came from a long line of artist; he was born to French Painter Carle Vernet (Antoine Charles Horace Vernet 1758 – 1836), who was the youngest child of French Painter Claude-Joseph Vernet (1714 – 1789); France’s foremost painter of land- and seascapes.
On his mothers side of the family he was the grandson of the French engraver Jean Moreau le Jeune (1741 – 1814); and he was casually trained by his father, who was a chronicler of the elegancies of the post-Revolutionary decades and the empire.
Horace was a child prodigy and in his teens was considered a professional artist; kaj en 1811 opened his own studio producing artwork in fashion design, caricatures, portretoj, horses in the manner of his father, and landscapes in the manner of his grandfather.
De 1821 al 1826 he painted a series of revolutionary and Napoleonic wars battles scenes Jemmapes, Montmirail, Hanau, and Valmy, painted for the duc d’Orléans, which gave a foretaste of that type of artwork he would later specialize in.
Kvankam li havis malestimon por la burbona registaro kiu estis en povo tiutempe kaj elmontris sian abomenon kontraŭ ĝi; li diskrete frenezaj akordigaj gestoj al la registaro, kiuj estis bone akceptitaj de la registaro kaj mallonge, li fariĝis oficiro de la Honora Legio en 1825, membro de la Instituto en 1826; kaj post sukcesaj montradoj ĉe la Salonoj de 1826 kaj 1827, estis nomumita direktoro de la Franca Akademio en Romo 1829.
Li tenis tiun pozicion dum sep jaroj kaj dum tiu tempo produktis “La Konfeso de la Brigando”, orientaj temoj “La Araba Rakontanto”, kaj historiaj anekdotoj “Renkonto de Rafaelo kaj Mikelanĝelo en Vatikano”.
Tiam dum la revolucio de julio 1830 kiu metis lian patron Louis-Philippe sur la tronon; he was able to receive a vast number of opportunities of official state commissions for battle pieces; Four very large canvases for the Galerie des Batailles at Versailles, shown at the Salon of 1836, were followed by a second series in 1841.
Horace approach to creating his battle scene artwork was of that of a reporter of an eyewitness account at the actual theaters of war; so in five long visits to North Africa in 1833, 1837, 1839-40, 1845 kaj 1853 he gathered on the spot documentation of the French conquest on Algiers and Marocco, that he would later turn in to wall sized convases destined for Versailles.
En 1855 Horace exhibited twenty four paintings at the Universal Exposition, which his popular and official success.