| Aimée Julie Cheron | |
| Birth Name: | Aimée Julie Jovin |
| Birth Date: | 26 April 1821 |
| Birth Place: | Paris, France |
| Death Date: | c. |
| Nationality: | French |
| Known For: | Miniature painting |
| Spouse: | Amedée Paul Cheron |
Aimée Julie Cheron (née Jovin; 26 April 1821 – c. 1890) was a French miniature painter.
Cheron was born in Paris and was a pupil of François Meuret (1800–1887).[1] She belonged to the Salon in Paris from 1846 to 1870.[1] After 1870, when the popularity of portrait miniature started declining, Cheron only painted still portraits and landscapes on porcelain. She lived for a long time in Paris, at 52 rue De Chabrol, then at 22 rue Montholon and finally, in the last years of her life at Samois-sur-Seine.
On 27 August 1850, she married Amedée Paul Cheron (Paris, 11 March 1819 – 5 May 1881) and they had one son, Jacques Paul (b. 12 April 1953). On 7 July 1881, Jacques Paul married Lucie (Lucy) Josephine Fehrenbach (born 19 December 1856), who was a pupil of her mother and a miniature painter in Paris where she lived at 18 rue de L’Ancienne Comédie. She participated to the Salon in Paris from 1875 to 1880 and also painted the portrait of the poet François Coppée. In 1881, after the death of Amedée, Aimee was granted a civil pension.
Amedée was a well known bibliographer, who in 1845, entered the Imperial Library as director of the department for reprinting rare books regarding fine art and French history. In 1855/1856 he wrote, for the editor Jannet, the General catalogue of all literary works published in the period 1800–1855 and an additional book for Causeries du Lundi by Charles Augustin Sainte-Beuve. Aimée’s style was very detailed, in the pointillist style typical of her teacher Francois Meuret. This style was also adopted by another of Meuret's pupils, Camille Cornéile Isbert (1825–1911), who often exhibited her miniatures at the Salon together with Aimée. She was a good drawer, she treated with great care all the details of the sitter's face, especially the skin tones. Also the clothing is painted with great attention and the backgrounds are various: landscapes, interiors, or simple monochrome. She had a deep faculty of introspection and succeeded in rendering the temperamental and psychological dimension of the sitters.
She signed her miniatures "Aimée Jovin" until 1850. From 1852 to 1872 she showed at the Salon, signing her pieces as "Aimée Cheron". Cheron was also the surname of another painter and miniaturist, Elisabeth Sophie Cheron (1684–1711).Among her pupils was Tatiane Gerardin, who exhibited her works at the Salon from 1875 to 1885.In 1865, Aimee was represented in a marble bust by the sculptor Charles Cordier (1827–1905), which is now in the private collection of the descendants of Cordier.