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A lovely depiction of horses ploughing a field. Oil on panel. Signed with initials lower left. Cazin studied initially at the college for the decorative arts, then worked under Lecoq de Boisbaudran. He was appointed to a professorship at the college of architecture in 1866 and, two years later, was named principal of the École des Beaux-Arts in Tours and curator of the municipal museum there. In 1871, he travelled to England, where he spent the majority of his time working in the Victoria and Albert Museum. During that same year, he also travelled to Italy and Holland. Cazin returned to France at the beginning of 1875 and settled in Paris. In 1898, he was entrusted with completing work on the Panthéon left unfinished by Puvis de Chavannes. However, Cazin was already seriously ill by this stage, and barely survived long enough to complete the task. Cazin started exhibiting in 1876. His early work was given over to an attempt to restore the art of wax painting. The first-ever canvas he exhibited ( Building Site) proved a sensation, not simply because of the wax process employed but, more particularly, because of the remarkable sensitivity it revealed. His ceiling composition ( Art) dates from around the same time; it was exhibited at the 1879 Salon. The following year, Cazin broke with Salon awards tradition to the extent that he was accorded a gold medal for his Ishmael and Hagar and Earth. His next works - Souvenir of the Festival and Gambetta's Mortuary Chamber- were acclaimed. Cazin was made a Chevalier of the Légion d'Honneur in 1882 and promoted to the rank of officer of that order in 1889. He went on to receive a gold medal and a Grand Prix at the Exposition Universelle of 1889 and also that of 1900. Cazin is an intriguing figure in late 19th-century art: his historical subjects appear to lie outside of the prevailing artistic mainstream, yet are admirable in terms of their meticulous composition. In the final analysis, however, Cazin will continue to be admired for his landscape work; there, his robust yet considered use of dense swathes of colour and luminous shades of grey imparts a singular melancholy to his canvases. Museum and Gallery Holdings Berlin: Evening Landscape with Mary Magdalene Chicago (AI): Tobias and the Angel (1878, oil on canvas); Theocritus (1885-1890, oil on canvas) Douai: Mill Lille (MBA): Tobias and the Angel (1880, oil on canvas) London (Nat. Gal.): Ulysses after the Shipwreck (c. 1880-1884, oil on canvas) Montreal: Hot Summer Day Paris (Mus. d'Orsay): The Storm (1886, oil on canvas); End of the Day (1888, oil on canvas); Sailor's Wife (before 1890, bronze) Philadelphia (MA): Solitude (by 1889, oil on canvas) Pontoise: Landscape with Thatched Cottages Tours (MBA): Hagar and Ishmael (1880, oil on canvas, on loan from the Musée d'Orsay) Vernon (Mus. Alphonse-Georges Poulain): Landscape with Houses (oil on canvas) Versailles (Mus. Nat. du Château): Death Bed of Leon Gambetta (1882, oil on canvas) Washington DC (Corcoran Gal. of Art): Weary Wayfarers (1885) Washington DC (NGA): Paris Scene with Bridge (oil on panel)
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Oil on panel. Signed lower left. Framed dimensions are 29 inches high by 33 inches wide. Cazin studied initially at the college for the decorative arts, then worked under Lecoq de B...
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