176-tir31
Bronze medal from the Paris Mint (cornucopia hallmark after 1880).
Minted in 1967.
Beautiful copy.
Engraver / Artist : Jacques Hardy.
Dimension : 68mm.
Weight : 183 g.
Metal : bronze.
Hallmark on the edge (mark on the edge) : cornucopia + bronze + 1967.
Dimension : 68mm.
Weight : 183 g.
Metal : bronze.
Hallmark on the edge (mark on the edge) : cornucopia + bronze + 1967.
Fast and careful shipping.
The easel is not for sale.
The stand is not for sale.
Charles-François Daubigny, born February 15, 1817 in Paris where he died February 19, 1878, is a French painter and engraver. Attached to the Barbizon school, he is considered one of the pivotal painters between the Romantic movement and Impressionism. Coming from a family of painters, Charles-François Daubigny was introduced to this art very early by his father, Edmé-François Daubigny, and his uncle, the miniaturist Pierre Daubigny. He was also a student of Jean-Victor Bertin, Jacques Raymond Brascassat and Paul Delaroche, from whom he quickly emancipated himself.
In 1838, he formed, on rue des Amandiers-Popincourt2, a community of artists, a phalanstery, with Geoffroy-Dechaume, Lavoignat, Meissonnier, Steinheil, Trimolet, with whom he already expressed his interest in subjects drawn from daily life and nature. These artists will work among others for the publisher Léon Curmer, who specializes in works illustrated with vignettes2. Daubigny's first established engravings date from this period.
His first stay in 1843 in Barbizon, rue Grande where the Les Pléiades hotel is located, allowed him to work in the heart of nature and changed his way of painting: not far from Paris, the forest of Fontainebleau had become a source of inspiration for Camille Corot in 1822. For these artists staying around Barbizon, the observation of nature is privileged, the landscape as a real subject and, in imitation of their English contemporaries (who had marked the Paris Salon of 1824), they choose to paint on the motif by placing their easel in front of the raw elements which they absorb: leaving the confined workshop becomes easier thanks to the invention of the gouache tube in 1841 and the train, and this "school", very informal, is in reality the crucible of a new way of representing the contemporary landscape3. Daubigny met Camille Corot in 1852: on his boat (named Le Botin) which he had converted into a painting studio, he painted following the course of the Seine and the Oise, particularly in the region of Auvers-sur-Oise. Another major meeting, which undoubtedly occurred earlier, was that with Gustave Courbet. The two artists are from the same generation and are driven by the realist movement: during a joint stay, they each composed a series of views of Optevoz.
In 1848, he worked for the Chalcographie du Louvre, making facsimiles, which testifies to his great expertise in this art, and revisited the technique of aquatint in a less cumbersome process. His famous series of Rolling Carts dates from this period. In 1862, with Corot, he experimented with the glass plate technique, halfway between photography and print2.
In 1864, he was one of the first exhibitors at the Salon de la Société nationale des beaux-arts4.
In 1
In 1838, he formed, on rue des Amandiers-Popincourt2, a community of artists, a phalanstery, with Geoffroy-Dechaume, Lavoignat, Meissonnier, Steinheil, Trimolet, with whom he already expressed his interest in subjects drawn from daily life and nature. These artists will work among others for the publisher Léon Curmer, who specializes in works illustrated with vignettes2. Daubigny's first established engravings date from this period.
His first stay in 1843 in Barbizon, rue Grande where the Les Pléiades hotel is located, allowed him to work in the heart of nature and changed his way of painting: not far from Paris, the forest of Fontainebleau had become a source of inspiration for Camille Corot in 1822. For these artists staying around Barbizon, the observation of nature is privileged, the landscape as a real subject and, in imitation of their English contemporaries (who had marked the Paris Salon of 1824), they choose to paint on the motif by placing their easel in front of the raw elements which they absorb: leaving the confined workshop becomes easier thanks to the invention of the gouache tube in 1841 and the train, and this "school", very informal, is in reality the crucible of a new way of representing the contemporary landscape3. Daubigny met Camille Corot in 1852: on his boat (named Le Botin) which he had converted into a painting studio, he painted following the course of the Seine and the Oise, particularly in the region of Auvers-sur-Oise. Another major meeting, which undoubtedly occurred earlier, was that with Gustave Courbet. The two artists are from the same generation and are driven by the realist movement: during a joint stay, they each composed a series of views of Optevoz.
In 1848, he worked for the Chalcographie du Louvre, making facsimiles, which testifies to his great expertise in this art, and revisited the technique of aquatint in a less cumbersome process. His famous series of Rolling Carts dates from this period. In 1862, with Corot, he experimented with the glass plate technique, halfway between photography and print2.
In 1864, he was one of the first exhibitors at the Salon de la Société nationale des beaux-arts4.
In 1