Fleury François Richard

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Fleury François Richard
Fleury–Richard (self portrait in youth)
Born
Fleury François Richard

(1777-02-25)25 February 1777
Lyon, France
Died14 March 1852(1852-03-14) (aged 75)
Écully, France
Known forPainting
MovementRomanticism, Troubadour style
Portrait of Fleury François Richard by Jean-Marie Jacomin in 1852

Fleury François Richard (25 February 1777, Lyon – 14 March 1852, Écully), sometimes called Fleury-Richard, was a French painter of the Lyon School. A student of Jacques-Louis David, Fleury-Richard and his friend Pierre Révoil were precursors of the Troubadour style.

Life

The son of a magistrate, Fleury François Richard studied at the collège de l'Oratoire in

Madame de Staël
.

In 1808 he set up his own studio at the

Légion d'honneur
in 1815.

Seeking inspiration, he visited Geneva, Milan, Turin and the Dauphiné. He served as a professor at the École des beaux-arts de Lyon from 1818 to 1823. In 1851 he set himself up at Écully, devoting himself to writing. He edited his Souvenirs, lives of painters and a work on painting in the second-order towns of France, Quelques réflexions sur l'enseignement de la peinture dans les villes de second ordre.

Critique

Musée des Beaux-Arts de Lyon

Fleury-Richard received his first lessons in Lyon, a silk-producing town, but he was mainly formed by his time in the

bon Roi René
" and most particularly by his art history treatise Le Cuer d’amours espris.

On his return to Lyon, he cultivated his friendship with

Saint Irénée at Saint-Just was used by Fleury-Richard in his studies for A Knight at Prayer in a Chapel, Preparing Himself for Combat; the construction used in Young Woman at a Fountain was a Roman sarcophagus at Île-Barbe; also at Île-Barbe, associated to the cloister of Notre-Dame-de-l'Isle at Vienne
in The Hermitage of Vaucouleurs.

When some scholars at the start of the 20th century sought to connect him to the

école lyonnaise despite his training in Paris, his national career and his painting – the historical genre was not specific to Lyon.[3]

In Fleury-Richard's critical writings scholars find a reflection prefiguring his attachment to Symbolism before it existed: "Painting is not an imitation of reality. It is a symbol, a figurative language which presents the image of thought; and thought rises to the source of infinite beauty, there finding the archetypical forms signalled by Plato, of which created beings are only copies.[4]"

Works

Saint-Petersburg

Gallery

Bibliography

Notes

  1. ^ "To the exasperation of public thematic works and heroic virtue, of which Davidian painting was the highest expression, they had been succeeded – at least among the inhabitants of Lyon – by the cult of sentiment, the desire to approach the private life of historical people" – (in French) François-René Martin, Historicisme et utopie à Lyon au XIXe siècle, in Le Temps de la peinture, op. cit., p. 152.
  2. ^ (in French) François-René Martin, ibidem.
  3. ^ Alphonse Germain, cited by Pierre Vaisse, Le Temps de la peinture, op. cit. p. 21.
  4. ^ Quoted by Stephen Bann, Le Temps de la peinture, op. cit., p. 57.

Sources

External links

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