Denis Auguste Marie Raffet Art

Charge Of the French Hussars At The Battle Of Waterloo 19th Century by AUGUSTE RAFFET (1804-1860) similar to $15,000 19th Century French scene of Napoleons French Hussars charging at the Battle Of Waterloo, oil on canvas by Auguste Raffet. Excellent quality example of the famous battle painters work, signed and presented in a good gilt frame. Would be enhanced with a light clean. Measurements: 18" x 16" framed approx Artist Biography Auguste Raffet was nine years old when his father was killed in the Bois de Boulogne in 1813. As his mother lacked financial resources he was obliged to learn a trade at a young age and was apprenticed to a wood turner, but also attended a drawing school in the evenings. At the age of 18 he joined Cabanel's studio to work as a porcelain decorator; his workshop manager Rubau was impressed by the young artist's talent and advised him to take up painting. He then attended Suisse's studio where his fellow students included Théodore Leblanc, Juhel the Younger and Rudder. In 1824 Rudder arranged for Raffet to work with Charlet and gave him his first lessons in lithography. Raffetremained at Charlet's studio for five years and in 1829 became a pupil of Gros. While continuing to study lithography he also attended the École des Beaux-Arts where he worked towards taking part in the Prix de Rome. By the time he entered for the Prix in 1831 he had already published several collections of lithographs and some remarkable plates including: Long Live the Republic; Lutzen; Close Ranks; The Review; and his popular illustration My Emperor, It's the Most Cooked. The Grand Prix was in fact awarded to Frédéric Henri Schopin (no relation to the composer) and Raffet was so disappointed that he decided to abandon painting almost completely and to devote himself exclusively to drawing and lithography. A retrospective of his work was organised by the Grenoble museum and the Marmottan library in the town of Boulogne-Billancourt in 1999. Up to 1830 Raffet had mainly been an imitator of Vernet, Charlet and Bellangé but he now began to develop a style of his own and to follow his own instincts. Raffet was in fact a great improviser: although he had never witnessed the Revolution, the campaigns under the Empire or the Algerian wars, he produced more convincing depictions of these events than those provided by many eye witnesses. From 1830 to 1837 he worked mainly on popular subjects, often executed with a touch of humour, such as: Representative of the People at the Army of the Rhine; Smoking Prohibited; Long Live the Emperor; Help the Vivandière; The Enemy Knows We Are There; and The Inspection. Some of his best works, true battle scenes, also date from this period: The Last Charge of the Red Banners; The Retreat of the Battalion; Capture of Fort Mulgrave; They Grunt; and The Night Review. Meanwhile, he also illustrated Museum of the Revolution; History of France by Abbé de Montgaillard; The Revolution; The Consulate and the Empire by Thiers; and History of Napoleon by Norvins. Although he did not witness the Algerian wars at first hand, they inspired some of his most important lithographs: The Capture of Constantine; The Flag of the 17th Light; and the famous Combat of Oued-Allez, which is perhaps his masterpiece. In 1837 Raffet travelled with Prince Anatole Demidoff, visiting Hungary, Moldavia, Wallachia, the Crimea, Smyrna and Constantinople. This trip marked the start of a third phase in Raffet's work: he became a keen observer and drew from life with perfect accuracy. When he returned to Paris he published the first plates of his Travels in the Crimea, which is not only of great artistic value but also provides a valuable ethnological source of reference. He followed the French army to Italy at the time of the siege of Rome and published a series of lithographs under this title which constitute a comprehensive study of the uniforms of the French army. He travelled constantly during the last 10 years of his life, always in the company of Demidoff, visiting Spain, London, Holland, Scotland, Austria and San Donato in Italy; he was still in San Donato at the end of 1859 during the war with Italy. He returned to Paris early in 1860 with plans to produce a series of lithographs that would draw a comparison between Napoleon Bonaparte's campaign of 1796 and that of Napoleon III in 1859. In order to gather the documentation he needed, Raffet left Paris for Italy on 7 February 1860; however, he caught a cold that developed into pneumonia, laying him low in Genoa, and he died in the city on 11 February 1860. Raffet's battle drawings convey all the violence and passion of a real event witnessed at first hand, where the soldier is the main focus of a composition uncluttered by details unnecessary to the breadth of his vision. He was not fully appreciated by his contemporaries, many of whom viewed him simply as a skilled lithographer, nor by posterity which saw him as a battle illustrator - rather as if Raffet were to Baron Gros what the battles of Napoleon III were to those of Napoleon I. Museum and Gallery Holdings Bayonne (Mus. Bonnat): The Review (watercolour...

Charge Of the Cuirassiers At The Battle Of Waterloo 19th Century by AUGUSTE RAFFET (1804-1860) similar to $15,000 19th Century French scene of Napoleons Cuirassiers charging at the Battle Of Waterloo, oil on canvas by Auguste Raffet. Excellent quality example of the famous battle painters work, signed and presented in a good gilt frame. Would be enhanced with a light clean. Measurements: 18" x 16" framed approx Artist Biography Auguste Raffet was nine years old when his father was killed in the Bois de Boulogne in 1813. As his mother lacked financial resources he was obliged to learn a trade at a young age and was apprenticed to a wood turner, but also attended a drawing school in the evenings. At the age of 18 he joined Cabanel's studio to work as a porcelain decorator; his workshop manager Rubau was impressed by the young artist's talent and advised him to take up painting. He then attended Suisse's studio where his fellow students included Théodore Leblanc, Juhel the Younger and Rudder. In 1824 Rudder arranged for Raffet to work with Charlet and gave him his first lessons in lithography. Raffetremained at Charlet's studio for five years and in 1829 became a pupil of Gros. While continuing to study lithography he also attended the École des Beaux-Arts where he worked towards taking part in the Prix de Rome. By the time he entered for the Prix in 1831 he had already published several collections of lithographs and some remarkable plates including: Long Live the Republic; Lutzen; Close Ranks; The Review; and his popular illustration My Emperor, It's the Most Cooked. The Grand Prix was in fact awarded to Frédéric Henri Schopin (no relation to the composer) and Raffet was so disappointed that he decided to abandon painting almost completely and to devote himself exclusively to drawing and lithography. A retrospective of his work was organised by the Grenoble museum and the Marmottan library in the town of Boulogne-Billancourt in 1999. Up to 1830 Raffet had mainly been an imitator of Vernet, Charlet and Bellangé but he now began to develop a style of his own and to follow his own instincts. Raffet was in fact a great improviser: although he had never witnessed the Revolution, the campaigns under the Empire or the Algerian wars, he produced more convincing depictions of these events than those provided by many eye witnesses. From 1830 to 1837 he worked mainly on popular subjects, often executed with a touch of humour, such as: Representative of the People at the Army of the Rhine; Smoking Prohibited; Long Live the Emperor; Help the Vivandière; The Enemy Knows We Are There; and The Inspection. Some of his best works, true battle scenes, also date from this period: The Last Charge of the Red Banners; The Retreat of the Battalion; Capture of Fort Mulgrave; They Grunt; and The Night Review. Meanwhile, he also illustrated Museum of the Revolution; History of France by Abbé de Montgaillard; The Revolution; The Consulate and the Empire by Thiers; and History of Napoleon by Norvins. Although he did not witness the Algerian wars at first hand, they inspired some of his most important lithographs: The Capture of Constantine; The Flag of the 17th Light; and the famous Combat of Oued-Allez, which is perhaps his masterpiece. In 1837 Raffet travelled with Prince Anatole Demidoff, visiting Hungary, Moldavia, Wallachia, the Crimea, Smyrna and Constantinople. This trip marked the start of a third phase in Raffet's work: he became a keen observer and drew from life with perfect accuracy. When he returned to Paris he published the first plates of his Travels in the Crimea, which is not only of great artistic value but also provides a valuable ethnological source of reference. He followed the French army to Italy at the time of the siege of Rome and published a series of lithographs under this title which constitute a comprehensive study of the uniforms of the French army. He travelled constantly during the last 10 years of his life, always in the company of Demidoff, visiting Spain, London, Holland, Scotland, Austria and San Donato in Italy; he was still in San Donato at the end of 1859 during the war with Italy. He returned to Paris early in 1860 with plans to produce a series of lithographs that would draw a comparison between Napoleon Bonaparte's campaign of 1796 and that of Napoleon III in 1859. In order to gather the documentation he needed, Raffet left Paris for Italy on 7 February 1860; however, he caught a cold that developed into pneumonia, laying him low in Genoa, and he died in the city on 11 February 1860. Raffet's battle drawings convey all the violence and passion of a real event witnessed at first hand, where the soldier is the main focus of a composition uncluttered by details unnecessary to the breadth of his vision. He was not fully appreciated by his contemporaries, many of whom viewed him simply as a skilled lithographer, nor by posterity which saw him as a battle illustrator - rather as if Raffet were to Baron Gros what the battles of Napoleon III were to those of Napoleon I. Museum and Gallery Holdings Bayonne (Mus. Bonnat): The Review (watercolour...

Provins is an original Lithograph realized by Denis Auguste Marie Raffet in 1814. Signature in the plate on the lower margin, the artwork represents a military troop at the front in...

Nous Avons la Victoire! is an original artwork realized by French artist Denis Auguste Marie Raffet (1804 – 1860) Lithograph print. Signed on plate on the lower right. On the lowe...

Denis Auguste Raffet (1804-1860) A charging Hussar, episode of the napoleonic wars Oil on canvas 19 x 24.5 cm In good condition, except a very little dent in the lower part (see photographs please) Framed : 25.5 x 32 cm (some lacks in the gilding) The artist depicts an episode of the Napoleonic wars, it was in fact the favourite theme of Auguste Raffet, who liked to imagine (and idealize) this glorious moment of recent french history. It's also interesting to think of artists of his time such as Eugène Delacroix or Theodore Géricault, in the way he paints the energy of the assault, the way he paints the horse, also. Denis Auguste Marie Raffet (2 March 1804 – 16 February 1860) was a French illustrator and lithographer. He was a student of Nicolas Toussaint Charlet, and was a retrospective painter of the Empire. At an early age he was apprenticed to a wood turner, but took up the study of art at evening classes. At the age of 18 he entered the workshop of Cabanel, where he applied his skill to the decoration of china, and where he met Rudor, from whom he received instruction in lithography, in the practice of which he was to rise to fame. He then entered the École des Beaux-Arts, but returned to lithography in 1830 when he produced on stone his famous designs of Lützen, Waterloo, Le bal, La revue, and Les adieux de la garrison, by which his reputation became immediately established. Raffet's chief works were his lithographs of the Napoleonic campaigns, from Egypt to Waterloo, vigorous designs inspired by ardent patriotic enthusiasm. In this endeavor he was a contemporary of other French artist-lithographers of Napoleon and the French army including Hippolyte Bellangé, Horace Vernet, and Nicolas Toussaint Charlet. As an illustrator his activity was prodigious, the list of works illustrated by his crayon amounting to about forty-five, among which are Béranger's poems, the History of the Revolution by Adolphe Thiers, the History of Napoleon by de Norvins, the great Walter Scott by Auguste Defauconpret, the French Plutarch and Frédéric Bérat's Songs. He went to Rome in 1849, and was present at the siege of Rome, which he made the subject of some lithographs, and followed the Italian campaign of 1859, of which he left a record in his Episodes de la campagne d'Italie de 1859. His portraits in pencil...