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Adolphe MonticelliArtist in his Studio - French 19th century art figurative interior oil paintingCirca 1870
Circa 1870
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About the Item
This lovely French 19th century figurative Impressionist oil painting is by Adolphe Monticelli. Painted circa 1870 the painting depicts a group of seven figures amusing themselves in the arts. The key figure is the artist sat at his easel but there are also two women dancing to the music of a lute player. The light streaming in from the right is beautifully captured on their clothing and casts a shadow of the artist's hat onto his canvas. A charming painting of 19th century entertainment and an excellent example of Monticelli's work.
Provenance: Christie's stamps verso, lot 202 on 20th October 1989.
Condition. Oil on canvas, 28 inches by 16 inches and in good condition.
Frame. Housed in an ornate frame, 36 inches by 24 inches and in good condition.
Adolphe Joseph Thomas Monticelli (1824-1886) was a French painter of the generation preceding the Impressionists. Monticelli was born in Marseille in humble circumstances. He attended the École Municipale de Dessin in Marseille from 1842 to 1846, and continued his artistic training in Paris, where he studied under Paul Delaroche at the École des Beaux-Arts. In Paris he made copies after the Old Masters in the Louvre, and admired the oil sketches of Eugène Delacroix. In 1855 he met Narcisse Diaz, a member of the Barbizon school, and the two often painted together in the Fontainebleau Forest. Monticelli frequently adopted Diaz's practice of introducing nudes or elegantly costumed figures into his landscapes. He developed a highly individual Romantic style of painting, in which richly colored, dappled, textured and glazed surfaces produce a scintillating effect. He painted courtly subjects inspired by Antoine Watteau; he also painted still lifes, portraits, and Orientalist subjects that owe much to the example of Delacroix. After 1870, Monticelli returned to Marseille, where he would live in poverty despite a prolific output, selling his paintings for small sums. An unworldly man, he dedicated himself singlemindedly to his art. The young Paul Cézanne befriended Monticelli in the 1860s, and the influence of the older painter's work can be seen in Cézanne's work of that decade. Between 1878 and 1884 the two artists often painted landscapes together, once spending a month roaming the Aix countryside. Although Monticelli experimented briefly around 1870 with a treatment of light reflecting the discoveries of the Impressionists, he found the objectivity of this approach uncongenial. Confronted with criticism of his style of painting Monticelli himself remarked, "I paint for thirty years from now". His work reached its greatest spontaneity in the decade before his death in 1886. More than a century after his death, Monticelli's art is still subject to controversy. In its painterly freedom Monticelli's work prefigures that of Vincent van Gogh, who greatly admired his work after seeing it in Paris when he arrived there in 1886. Van Gogh immediately adopted a brighter palette and a bolder attack, and later remarked, "I sometimes think I am really continuing that man." In 1890, Van Gogh and his brother Theo were instrumental in publishing the first book about Monticelli. Monticelli's reputation grew after his death. Among his collectors was Oscar Wilde who, after going to prison in 1895, wrote of his bankruptcy in a letter to Lord Alfred Douglas, "De Profundis": "That all my charming things were to be sold: my Burne-Jones drawings: my Whistler drawings: my Monticelli: my Simeon Solomons: my china: my Library..." Others have expressed disregard of Monticelli's work. In a statement published in 2005 in The Guardian, Sir Timothy Clifford, director general of the National Galleries of Scotland, Edinburgh, even chose Monticelli's A Garden Fete as the worst painting in Britain, and commented, "We have been bequested eight paintings by Monticelli, each one more hideous than the last. In my 21 years here, none has been hung because I think Monticelli produces screamingly awful art. I call this one a Fete Worse Than Death." A monument honoring Monticelli, designed in 1909 by the sculptor Auguste Carli, is installed in the Palais Longchamp Marseille.
- Creator:Adolphe Monticelli (1824 - 1886, French)
- Creation Year:Circa 1870
- Dimensions:Height: 24 in (60.96 cm)Width: 36 in (91.44 cm)Depth: 2 in (5.08 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:London, GB
- Reference Number:1stDibs: LU853113397692
Adolphe Monticelli
Adolphe Joseph Thomas Monticelli, widely known as Adolphe Monticelli, was a French painter whose vibrant and expressive style preceded the Impressionist movement. Born in Marseille in 1824, Monticelli embarked on his artistic journey at the age of eighteen by attending the École Municipale de Dessin in his hometown from 1842 to 1846. He then moved to Paris to further his studies under the tutelage of Paul Delaroche at the prestigious École des Beaux-Arts. While in Paris, Monticelli honed his skills by making meticulous copies of works by the Old Masters in the Louvre and creating oil sketches inspired by Eugène Delacroix. His technique evolved significantly during this period, laying the foundation for his distinctive style. In 1855, Monticelli met Narcisse Diaz, an artist associated with the Barbizon School. The two frequently painted together in the forest of Fontainebleau. Monticelli was influenced by Diaz’s practice of incorporating nudes or elegantly dressed figures into landscapes, a motif that would recur in his own work. Monticelli developed a highly individual Romantic style characterized by richly colored, dappled, and textured surfaces. His paintings, with their scintillating effects, often depicted courtly subjects inspired by Antoine Watteau. Additionally, he created still lifes, portraits, and Orientalist scenes, drawing inspiration from Delacroix’s oil paintings. In the 1860s, Monticelli befriended the young Paul Cézanne, and his influence is evident in Cézanne’s work from that decade. Despite his growing prowess and the significant output of his work, Monticelli lived in poverty after returning to Marseille in 1870. He sold his paintings for meager sums, driven solely by his passion for art rather than financial gain. From 1878 to 1884, Monticelli and Cézanne often painted together, exploring the landscapes of Aix-en-Provence. Monticelli’s dedication to his craft was reflected in his remark, “I paint for thirty years from now,” suggesting a forward-looking vision that anticipated future artistic developments. Monticelli’s work, with its painterly freedom and expressive use of color, prefigured that of Vincent van Gogh. Van Gogh, who greatly admired Monticelli’s work after seeing it in Paris in 1886, adopted a brighter palette and heavier brushstrokes influenced by Monticelli’s style. Unfortunately, Monticelli passed away in Marseille in 1886, just a few months before Van Gogh arrived in Paris, and the two artists never met. In 1886, Monticelli’s distinctive style and technique captured the attention of critics and admirers at the Salon des XX. His nervous and broad brushstrokes, along with a remarkably rich palette, made his work instantly recognizable. He painted a variety of subjects, including imaginary festive scenes, expressive portraits, sensual nudes, vibrant still lifes, and lively circus scenes, all characterized by a unique vivacity and color that continue to be admired in the art world today. Adolphe Monticelli’s legacy is that of an influential French painter who, despite a life of poverty, left a lasting impact on the art world. His friendship with Cézanne, his influence on Van Gogh, and his vibrant, expressive style ensure that his work remains celebrated and studied long after his time.
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