{"id":7949,"date":"2017-02-15T21:10:50","date_gmt":"2017-02-16T02:10:50","guid":{"rendered":"http:\/\/www.georgeglazer.com\/wpmain\/?post_type=product&p=7949"},"modified":"2021-12-03T15:56:09","modified_gmt":"2021-12-03T20:56:09","slug":"portrait-pierre-joseph-redoute-botanical-artist","status":"publish","type":"product","link":"https:\/\/www.georgeglazer.com\/wpmain\/product\/portrait-pierre-joseph-redoute-botanical-artist\/","title":{"rendered":"Portrait, Pierre-Joseph Redoute, Botanical Artist (Sold)"},"content":{"rendered":"

In 1798, Redout\u00e9 attracted another important patron, the Empress Josephine, wife of Napoleon Bonaparte, who commissioned an extensive series of paintings after the ornamental flowers in her lavish gardens at Malmaison, which became the plates for the books Jardin de Malmaison<\/strong> (1803-04) and Description des Plantes Rares Cultiv\u00e9es \u00e0 Malmaison et \u00e0 Navarre<\/strong> (1812-14).\u00a0 He also created plates for Duhamel du Monceau\u2019s monumental seven-volume horticultural study on fruit trees, Nouveau Trait\u00e9 des Arbres Fruitiers<\/strong> (1800-19).\u00a0 During this period he also produced two of his most famous works: Les Liliac\u00e9es<\/strong> (1802-16) and Les Roses <\/strong>(1817-24). There followed another renowned collection, Choix Des Plus Belles Fleurs <\/strong>(1827-33). Redout\u00e9 was esteemed by his artistic peers, and influenced a number of younger botanical artists including Pierre Jean Fran\u00e7ois Turpin, Pierre-Antoine Poiteau, Pancrace Bessa, Mme. Vincent and Jean Pr\u00e9vost. In 1825, he was made a member of the Legion of Honor.<\/p>\n

A large number of Redout\u00e9\u2019s original watercolors on vellum are in the collection of the Mus\u00e9e National de La Malmaison in France and other museums, though many are in private collections. His renown, however, is due to the remarkable quality of the prints made after these paintings, which brought his works to a wider audience during his lifetime and thereafter.\u00a0 The most accomplished engravers of the period were engaged to translate his original paintings into stipple engravings, in which the plates are etched with small dots rather than lines. Indeed, Redout\u00e9 helped refine the stipple engraving process to best capture the subtle effects, luminosity, sheen and dimensionality of his original paintings. Through a method he invented in 1796, the colors were applied to the engraved plate a la poup\u00e9e<\/em> before each printing, \u201cgiving to our prints all the softness and brilliance of a watercolor,\u201d as Redout\u00e9 noted.\u00a0 Finally, each print was finished with additional coloring by hand. Redout\u00e9\u2019s high standards are evident in the striking way in which the resulting prints capture the subtle delicacy of flower petals and foliage.<\/p>\n

References:<\/p>\n

Blunt, Wilfred, rev. by Stearn, William T.\u00a0 The Art of Botanical Illustration.<\/em>\u00a0 Woodbridge, Suffolk, England: Antique Collectors Club, 1994.\u00a0 pp. 25-26, 194-209.<\/p>\n

Brindle, John V., James J. White and Donald E Wendel.\u00a0 Flora Portrayed: Classics of Botanical Art from the Hunt Institute Collection.<\/em> Pittsburgh, PA: Hunt Institute for Botanical Documentation, Carnegie-Mellon University, 1985.\u00a0 pp. 44-45.<\/p>\n

Dunthorne, Gordon. Flower and Fruit Prints of the 18th and Early 19th Centuries. Their History, Makers and Uses, with a Catalogue Raisonne of the Works in Which They are Found.<\/em>\u00a0 Washington, D.C.: Published by the Author, 1938. 231 (Redout\u00e9 Lilies), 232 (Redout\u00e9 Roses), 235 (Redout\u00e9 Choix).<\/p>\n

Lawrence, G.M.A., F.A. Stafleu, I. MacPhail, J.V. Brindle and A. Lawalr\u00e9e.
\nA Catalogue of Redout\u00e9ana. April-Aug. 1963.<\/em> Pittsburgh, PA: Carnegie Institute of Technology, Hunt Botanical Library, 1963. \u00a010 (Redout\u00e9 Lilies), 19 (Redout\u00e9 Roses), 20 (Redout\u00e9 Choix).<\/p>\n

Nissen, Claus. Die Botanische Buchillustration: ihre Geschichte und Bibliographie.<\/em> Stuttgart:1951-66.\u00a0 1591 (Redout\u00e9 Choix), 1597 (Redout\u00e9 Lilies), 1599 (Redout\u00e9 Roses).<\/p>\n

Pierre-Joseph Redoute’s Les Liliacees.\u00a0 <\/em>New York: Sotheby’s Publications, 1985.<\/p>\n

Pritzel, Georg August. Thesaurus Literaturae Botanicae Omnium Gentium.<\/em> Milan: 1950. \u00a07456 (Redout\u00e9 Choix).<\/p>\n

Sitwell, Sacheverell. Great Flower Books, 1700-1900.<\/em> New York: The Atlantic Monthly Press, 1990.\u00a0 pp. 71-72.<\/p>\n

Stafleu, Frans A. and Richard S.Cowan. Taxonomic Literature.<\/em> Utrecht: 1967. 2nd ed., Utrecht: 1976-1988. TL2 8747 (Redout\u00e9 Lilies), TL2 8748 (Redout\u00e9 Roses), TL2 8750 (Redout\u00e9 Choix).<\/p>\n

<\/div>\n

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Maurai[lt]e or Maurai[ss]e (after)
\nC. Motte (lithographer)
\nP.J. Redout\u00e9<\/strong>
\nParis: 1828
\nLithograph
\n8 x 5.5 inches<\/p>\n

Pierre-Joseph Redout\u00e9 is the greatest botanical artist of the golden era of French botanical illustration — the first four decades of the 19th century.\u00a0 His artistic career lasted an astonishing 67 years.\u00a0 According to botanical scholar Wilfred Blunt, \u201c[r]oyal patronage, tireless energy, and the assistance of a brilliant team of stipple engravers and printers, made it possible for him to produce illustrated books which have few rivals in the whole history of botanical art.\u201d\u00a0 Born in Belgium to a family of artists, Redout\u00e9 left home at age 13, traveling, studying art, and making a living as an itinerant painter for the next 10 years, when he arrived in Paris to join his older brother, a theatrical scene painter.\u00a0 Following his interest in flower painting, he began to frequent the Jardin du Roi (King\u2019s Garden).\u00a0 There he met his first major patron, the wealthy botanist Charles Louis L\u2019H\u00e9ritier de Brutelle, for whom he illustrated two botanical studies.\u00a0 He also became a prot\u00e9g\u00e9 of the Dutch artist Gerard van Spaendonck (1746-1882), professor of flower painting at the museum at the Jardin, whose watercolor technique profoundly influenced Redout\u00e9\u2019s style.\u00a0 In 1793, Redout\u00e9 and his younger brother joined the museum staff; after van Spaendonck\u2019s death in 1822, Redout\u00e9 succeeded him as a \u201cmaster of drawing.\u201d<\/p>\n

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