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1803 Xylia Xylocarpa ["Fabaceae"], After Bessa & Redouté, Botany
About the Item
Redouté (1759-1840) and Pancrace Bessa (1772–1846) after; engraved by Pierre-Joseph (1759-1840).
Dimensions
Height: 20.08 in. (51 cm)
Width: 13.39 in. (34 cm)
From the series:
VENTENAT, Etienne Pierre (1757-1808).
Choix de plantes, dont la plupart sont cultivées dans le jardin de Cels.
Paris: Crapelot, 'An XI - 1803' [1803-1808].
Redouté (1759-1840), the most celebrated student of Gerard Van Spaëndonck was, during the course of his long career, both 'Dessinateur du Cabinet de Marie-Antoinette' and 'Peintre de Fleurs' to Josephine Beauharnais. The latter commissioned him to make an artistic record of her garden of rare plants at Malmaison. The result, a collaboration with Ventenat, was the famous Jardin de Malmaison (1803-04). This present work, published around the same time, is further testimony to their successful collaboration. '[I]n terms of sustained consistency of quality over a vast output, Redouté has no parallel in the history of flower painting' (E. Hardouin-Fugier and E. Grafe, French Flower Painters of the 19th Century, 1989, p.334).
References: Nissen BBI 2047; Stafleu & Cowen, VI 16.008.
- Creator:Pierre-Joseph Redouté (Artist)
- Dimensions:Height: 20.08 in (51 cm)Width: 13.39 in (34 cm)Depth: 0.08 in (2 mm)
- Materials and Techniques:
- Place of Origin:
- Period:
- Date of Manufacture:1803
- Condition:Wear consistent with age and use.
- Seller Location:Norwich, GB
- Reference Number:1stDibs: LU7031234714982
Pierre-Joseph Redouté
Pierre-Joseph Redouté (1759-1840), was a painter and botanist originally from Belgium, who pursued his extremely successful artistic career in France. He is well known for his watercolor paintings of roses, lilies and other flowers and their subsequent folio-sized, color stipple engravings. Some believe him to be the greatest botanical illustrator of all time. Redouté was a favorite of the French royal court at the time and of the post French revolution aristocracy. He was an official court artist of Queen Marie Antoinette and his works continued to in demand during and after the French Revolution and Reign of Terror. He combined great artistic skills with a pleasing, ingratiating personality which assisted him with his influential patrons. After the fall of the French monarchy, he was a favorite Empress Joséphine, Napoleon Bonaparte's wife and later by his second wife Marie Louise, Duchess of Parma. The wife of Louis Philippe I, the last king of France, Maria Amalia of Naples and Sicily, was also a patron.
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