1936 Photolithograph Jules Bastien Lepage Beggar Child Old Man Poor XAF5
This 75+ year old Item is rated Near Mint / Very Fine+. Light aging throughout. No creases. No natural defects. No surface rub. No tears. No water damage.
- Product Type: Orig. Photo-Lithograph; Black / White
- Grade: Near Mint / Very Fine+
- Dimensions: Approximately 7.5 x 8.5 inches; 19 x 22 cm
- Authentication: Serial-Numbered Certificate of Authenticity w/ Full Provenance
- Protection: Packaged in a custom archival sleeve with an acid-free black board (great for display, gift-giving, and preservation)
This piece was illustrated by Bastien-Lepage, Jules. Artist signature in print - bottom left of image.
Jules Bastien-Lepage (1 November, 1848 Ð 10 December, 1884) was a nineteenth century French painter of the Naturalist movement, which was similar in many respects to the Realist movement.
Born in the village of Damvillers, Meuse in France, Bastien-Lepage exhibited an interest in art from an early age. His mother and father, who was an artist himself, purchased prints of paintings from which Jules would copy. His first formal art education came at Verdun, and in 1867 Bastien-Lepage was admitted into the École des Beaux-Arts in Paris where he became a pupil of Alexandre Cabanel. Though fairly reclusive, preferring to work alone and often outside of the École, Bastien-Lepage completed three years of study.
Following service in the French army during the Franco-Prussian War, Bastien-Lepage returned to France, painting tranquil, simple and common scenes in a distinctly naturalist and original tone, elevating the depiction of common life through the augmentation of the grand tradition of French painting. His dynamic compositions, unique pale palette and faithful handing of reality within his paintings garnered him wide acclaim, bringing him various awards and making him an accepted member of the Salon.
Bastien-Lepage died in France at the age of thirty-six, leaving a significant legacy. Émile Zola identified Bastien-Lepage as Òthe grandson of Courbet and Millet,Ó while Roger Fry (Essay in Aesthetics, 1920) later stated that the eventual acceptance of the Impressionists and subsequent artistic movements of the nineteenth and twentieth centuries first Òrequired the teaching of men like Bastien-Lepage, who cleverly compromised between the truth and an accepted convention of what things looked like, to bring the world gradually around to admitting truthsÓ so inherently apparent in the reality of nature and life.