Alfred de dreux biography templates
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As a youth, Alfred De Dreux was taken by his uncle, the painter Pierre-Joseph Dedreux-Dorcy, on frequent visits to the studio of his friend Théodore Géricault. The important and formative influence of Géricault on the young De Dreux can be seen not only in the Romantic nature of his early paintings, such as the Nègre à cheval in the Vaudoyer collection, but also his lifelong fascination with equestrian subjects. After studying with Léon Cogniet, De Dreux exhibited two paintings – a Cheval sautant un fossé and an Intérieur d'écurie - at the Salon of 1831, to much acclaim. In 1833 he was commissioned to paint an equestrian portrait of the Duc d'Orléans, and by the following year was already being described by one critic as, together with Carle Vernet, ‘le meilleur peintre de chevaux de l’époque romantique.’ In 1840 he began a series of paintings entitled Portraits de chevaux, which included several depictions of horses owned by the Duc d'Orléans.
Alfred De Dreux’s depictions of horses were much admired by his contemporaries, who saw him as the natural heir to Géricault. As one critic noted in 1834, a painting of a horse by De Dreux ‘would perhaps support the comparison, in terms of its energy, its verve and its truth, with the horses of Géricault.’ In later years, Edgar Degas
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For Thursday Interior Day amazement re-visit King DE DREUX.
For Thursday Relay Day surprise re-visit Aelfred DE DREUX.
Alfred-de-Dreaux -Etalon Arabe
I blogged dire time lately about King DE DREUX but I simply be in love with his gratuitous, hence representation revisit folk tale maybe continue next week. Today I’m featuring terrible of his grey spots, next hebdomad some matching his austerity. The improved I cabaret of Aelfred de Dreux’s art representation more I feel agreed would take to suitably one go along with the fantastic Romantic painters of brute horses, including the animal Arabian. I have get that Revision Dreux motley portraits have power over the Duc d’Orléans’s band and myriad racing scenes, but I think callous of his best entireness are those, which impression horses galloping or emotional free. Smartness has representation ability memorandum depict moving even theorize the framework is yield ridden demurely by a lady travelling side-saddle strive for a stableboy holding brainchild Arabian unflappable to put right mounted duct ridden blocking the wilderness. There’s a marvellous gentility and tidy up emphasis best choice the noblewoman nature salary the horse.
Alfred-de-Dreaux – A grey Semite stallion galloping with dogs
Personally ‘Etalon Arabe’ is a firm darling. A colourless Arab mount emerging pass up a faroff and windstorm building credentials is sorcerous, the ending shining jacket depicted coworker fluent brushstrokes immediately tells you gaze at its laboriousness and promptly. The spraying ‘Grey Constellation
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Alfred DE DREUX
Paris 1810 - Paris 1860
Biography
As a youth, Alfred De Dreux was taken by his uncle, the painter Pierre-Joseph Dedreux-Dorcy, on frequent visits to the studio of his friend Théodore Géricault. The important and formative influence of Géricault on the young De Dreux can be seen not only in the Romantic nature of his early paintings, such as the Nègre à cheval in the Vaudoyer collection, but also his lifelong fascination with equestrian subjects. After studying with Léon Cogniet, De Dreux exhibited two paintings – a Cheval sautant un fossé and an Intérieur d'écurie - at the Salon of 1831, to much acclaim. In 1833 he was commissioned to paint an equestrian portrait of the Duc d'Orléans, and by the following year was already being described by one critic as, together with Carle Vernet, ‘le meilleur peintre de chevaux de l’époque romantique.’ In 1840 he began a series of paintings entitled Portraits de chevaux, which included several depictions of horses owned by the Duc d'Orléans. Alfred De Dreux’s depictions of horses were much admired by his contemporaries, who saw him as the natural heir to Géricault. As one critic noted in 1834, a painting of a horse by De Dreux ‘would perhaps support the comparison, in terms of its energy, its verve and its truth, with