Aimé Morot Explained

Aimé Morot
Birth Name:Aimé Nicolas Morot
Birth Place:Nancy, France
Death Place:Dinard, France
Resting Place:Le Cimetière Montmartre 18eme division (Montmartre Cemetery), Paris
Nationality:French
Field:Drawing, painting, sculpturing
Training:Thiéry, Charles François Sellier, Alexandre Cabanel
Works:Les Ambronnes, 1879; Le bon Samaritain, 1880; Rezonville, 1886; Reischoffen, 1870, 1889; Mademoiselle Madeleine Gérôme, 1890; Monsieur Edouard Detaille, 1899; Monsieur Gustave Eiffel, 1905; Ernest Hébert, 1905
Awards:Grand Prix de Rome, 1873; first medal Salon de Paris, 1879; Medal of Honour Salon de Paris, 1880 Grand Prix of l'Exposition Universelle, Paris, 1900

Aimé Nicolas Morot (16 June 1850 – 12 August 1913) was a French academic painter and sculptor.

Biography

Aimé Nicolas Morot, son of François-Aimé Morot and Catherine-Elisabeth Mansuy, was born in Rue d'Amerval 4 in Nancy on 16 June 1850,[1] and spent his youth in Rue de la Colline in Boudonville.[2] At age 12 he started his studies in drawing, painting and gravure printing at the l'Ecole Municipal de Dessin et de Peinture de Nancy under Thiéry[3] [4] and the director of the school Charles Sellier.[5] He continued his studies in Nancy until the late 1860s and subsequently attended the workshop of Alexandre Cabanel at the École Nationale Supérieure des Beaux-Arts in Paris,[6] but could not study well in the noisy environment of Cabanel's workshop and left after having received two corrections by Cabanel. In the next two years he continued his studies independently studying in the Jardin des Plantes, where he developed his skills in observing and portraying animals. Despite his lack of attendance at the École, he won the Grand Prix de Rome in 1873 with his first submission, the Babylonian Captivity (Super Flumina Babylonis),[7] which is currently in the collection of the École des Beaux-Arts in Paris.

The fellowship allowed him to travel to Italy and become a resident of the Villa Medici, where the French Academy in Rome was housed. Morot rarely set foot in his workshop in the Villa Medici, but still regularly produced paintings. His first submission to the Salon de Paris was awarded a third-class medal for the painting Spring (Printemps) in 1876.[8] In 1877 he was awarded a second-class medal for Médée, for which a Roman woman called Victoria served as his model. He subsequently received a first-class medal in 1879 for Les Ambronnes and the Medal of Honour for The Good Samaritan in 1880,[9] competing against Joan of Arc by the realist painter Jules Bastien-Lepage, who had also studied under Cabanel. According to Brauer (2013)[10] The Good Samaritan was a protest against the continued poor treatment of the Paris Communards after their defeat in 1871.

Morot returned to Paris in 1880, where he met painter Jean-Léon Gérôme and married Suzanne-Mélanie Gérôme (1867-1941), one of the painter's four daughters, at the Mairie Drouot (Paris 9eme Arrondissement, civil) and in the Sainte-Trinité church in 1887. Marriage witnesses included fellow painters Fernand Cormon and Charles Jalabert.[11]

The family first lived in 18 rue de Chabrol, and in 1896 moved to a town house at 11 rue Weber, in Paris, the garden of which resembled a zoo housing snakes,[12] lions, panthers, leopards and other exotic animals.[13] [14] He had two children, a daughter Aimée Morot (1901-1958) and a son Jean-Léon Morot (1908-1961). Suzanne-Mélanie Morot modelled for paintings in 1897 and, together with her daughter, in 1904. One of Morot's last contributions to the French Artists' Salon de Paris was a painting of his children called Brother and Sister (Frere et Soeur) in 1911.[15]

In the 1880s, Morot worked at the Académie Julian, where he was a colleague of William-Adolphe Bouguereau (1825-1905) with whom he co-supervised the British cartoonist and illustrator Sir Leonard Raven-Hill (1867-1935) in 1885 and 1886. After Gustave Moreau's death in 1898, he led Moreau's studio at the institute. Theodor Pallady (1871-1956) and Gaston Hippolyte Ambroise Boucart (fr) (1878-1962), former pupils of Gustave Moreau, continued their studies under Aimé Morot. Charles Louis Auguste Weisser (Montbéliard, 1864-1940) was a student of both Aimé Morot and Jean-Léon Gérôme.[16] Other French painters and engravers that were supervised by Morot were Hippolyte-Auguste Fauchon, (1853-1935), (1861-1943), Léon Fauché (1868-1951), (1879-1932) and Henry Jacquier (1878-1921).

In 1900, he won the grand prix of the l'Exposition Universelle (Paris Exhibition) and in the same year became professor at the École Nationale Supérieure des Beaux-Arts in Paris. Henry Golden Dearth (Bristol, 1864), a bronze medal winner at the same Paris Exhibition of 1900, was one of his British students,[17] as were Dawson Dawson-Watson (1864-1939) and James Whitelaw Hamilton (1860-1932).

His American apprentice artists included Benjamin Foster (1852-1926), Edmund Clarence Messer (1842-1919; elected Principal of Corcoran School of Art in 1902), Gaylord Sangston Truesdell (1850-1899), George Henry Bogert (1864-1944), Georgia Timken Fry (1864-1921), Eurilda Loomis France (1865-1931) and Herbert Haseltine (1877-1962).

In 1883 Morot was awarded the title of Chevalier (knight) in the Legion of Honour[18] and in 1901 he became Officier (officer) in the Légion d'Honneur.[19] As an academician and professor at the École Nationale Supérieure des Beaux-Arts who frequently exhibited at the French Artists' Salon in Paris and being a member of the painting jury, Aimé Morot was an influential person in the modern art centre of Paris, being among the 18 most influential members of the Institute[20] and was included in Grün's painting "One Friday at the French Artists' Salon" in 1911.[21] In 1912 he was awarded the distinction of Commandeur in the Légion d'Honneur.[22] [23] Morot contributed to the Salon until 1913 where he exposed a portrait of M. Paul Deschanel.[24]

In 1910, Morot ordered the construction of a second house outside Paris, Maison dite Ker Arlette[25] in Dinard, a coastal village in North-east Brittany. He lived there until his death after a lengthy illness[26] on 12 August 1913.[27] His death mask was cast in bronze using Lost-wax casting by Fonderie Valsuani, with which he had collaborated for casting bronzes (e.g. Baigneuse debout, Torse de femme). Obituaries were published in the 13 August 1913 edition of Gil Blas,[28] the 16 August 1913 edition of L'Illustration and the 24 August edition of L'Immeuble & la Construction dans l'Est.

Aimé Morot's brother was a well-known designer and locksmith in Nancy, who worked on the restoration of the 18th century gilded wrought-iron gates on Place Stanislas in Nancy, designed by Jean Lamour. His brother may have been the inspiration for his painting of The Blacksmith (Le Forgeron). His nephew Jacques Morot also became a painter and exhibited three paintings (portrait of an Arab Chleuch au chapelet, Despedida (l'adieu) and Château du Metz) in the Salon in 1922.[29]

Military genre, battle scenes

Morot had been attached to the General Staff of the French Army, which had given him ample opportunity to study cavalry men and horses.[30] To study the movement of the horses he used his eye as a camera[31] by the use of a simple device that he could open and close rapidly in front of his eyes to better isolate the movements. This allowed him to vividly paint several historic cavalry charges from the Franco-Prussian War in 1870. Among the paintings exhibited at the Salon des Artistes Français were Cavalry charge at Rezonville (1886),[32] [33] 3ème Cuirassiers a Helsass Hausen (1887) and Reischoffen (1887, exhibited in Musée de l'Histoire de France (Versailles))[32] [33] and Prisonnier! or the Charge of cavalry at Gravelotte (1888).[34]

Society portraits

After producing a number of classical and figure paintings at the beginning of his career (e.g. Hériodiade (1880), Le Bon Samaritain (1880), Jésus de Nazareth (1883), Temptation of St. Anthony, Dryade (1884)) he went on to become a society portraitist. Among others he painted Madame Bertinot (1880), Madame Agache (1881), Comtesse de Fontarce (1885), Son Altesse Royale la Duchesse d'Alençon Duchess Sophie Charlotte in Bavaria, Madame Archdeacon-Boisseaux (1895), Madame Méring (1895), Baron Alphonse James de Rothschild (1898), the most famous French socialite of the Belle Epoque Countess Élisabeth Greffulhe,[35] the painter Édouard Detaille (1899), Monsieur Gustave Eiffel (1905),[36] the Duc de Doudeauville, Madame Aymé Darblay (1902), Pastor Goulden (1906),[37] and Frère et Soeur (Brother and sister), which was exhibited at the Salon de Paris in 1911.

Paintings of animals

Morot excelled in portraying animals, which appeared in many of his other paintings, such as the horses in his historic cavalry paintings, a donkey in Le bon Samaritain, a pig in Temptation of Saint Anthony, a snake in La Charmeuse, lions in Lion before his Prey and Reclining Lions, Rex and Au Tableau, tigers in Tigre and Deux Tigres Combattant, dogs in Mademoiselle Brice and Jacques Goldschmid and a cat in the painting of his daughter Denise with Cat (1899).

International travel

His visits to Spain inspired him to Spanish motifs, such as the paintings of Toro Colante displayed at the Salon de Paris in 1885[38] and of which gravures were published in Le Monde Illustré in 1887 and El Bravo Toro!. which was exhibited in the Salon in 1884 and later featured on the cover of Les Annales politiques et littéraires after his death in 1913.[39] These paintings were painted from memory after Morot had visited a series of bull fights in Spain.[40]

Aimé Morot loved hunting and travelled extensively. In 1889 he travelled to Morocco in the company of the French novelist and naval officer Pierre Loti, where he made several orientalist drawings. In 1893 he went to India for tiger hunting. He also visited Turkey, Syria and Abyssinia (Ethiopia), where he was refused permission to hunt elephants and lions. In 1900 he visited Niger and French Sudan, where he did hunt and kill a large lion. This resulted in Au Tableau (1902), representing the return from the hunt with a killed lion being carried up on a river bank by Africans, which is in the Musée des Beaux-Arts in Nancy. Although he travelled widely, he produced few works in the Orientalism genre. Arabs attacking an English outpost was part of the collection of Salvador de Mendonça until 1892.[41] Morot's Dessert Warrior and the watercolour Fantasia was inspired by his travels to Morocco.

Media

Most of Morot's work consists of oil paintings, although he used other media. Aimé Morot was a member of the Société d'aquarellistes Français and submitted the watercolour Hallah to their 1888 exhibition in Paris[42] and painted the Battle of Reichshoffen using watercolours. He also painted the ceiling of the Grand Salon of the Hôtel de Ville in Nancy in 1902. Aimé Morot made various sculptures in marble and bronze. In 1905 he worked on a memorial for Jean-Léon Gérôme, which consisted of a group representing Gérôme working on his Gladiator sculpture. This sculpture was exhibited in the Jardin de l'Infante in one of the courts of the Louvre[43] and is now exhibited in the Musée d'Orsay. At the same time he worked on a portrait of fellow painter Ernest Hébert for display at the Salon de Paris and was selected as a jury member for the next Salon in 1906.[44] His sculptures also include a number of Art Nouveau style women's heads carved in white marble similar to those sculpted by (French, 1850-1920), (French, 1880-1952), Enzo Sighieri (Born 1868), Louis Jacques Gallet (Swiss, 1873–1955), Affortunato Gory (Italian, 1895-1925) and G. Verona.

Colour palette and painting technique

For his oil paintings on canvas, Aimé Morot had a preference for a colour palette consisting of silver white, zinc white, yellow ochre, red ochre, cadmium yellow, cadmium red, raw sienna, burnt sienna, cobalt blue, emerald green, rose madder, carmine lake and ivory black.[45] His painting medium consisted of oil mixed with some turpentine or sometimes with copal. He would start his painting by making a rough outline of the entire subject on a well-dried oiled canvas using a brush or charcoal, then applied the paint. When the completed painting had dried for a long time, he finally applied a light varnish.

Paintings and drawings

Bronze and marble sculptures

Notes and References

  1. E. Benezit, 1976. Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs. Volume 7, p. 553. Librairie Gründ. Paris, France. .
  2. Anonymous, 24 August 1913. La Famille Morot. L'Immeuble et la Construction dans l'Est, p. 325
  3. Aimé Nicolas Morot and Charles Moreau-Vauthier, 1906. L'oeuvre de Aimé Morot: membre de l'Académie des Beaux-Arts. Librairie Hachette et Cie., Paris. 7 p., 60 gravures, in folio.
  4. M. S. (1907). L'oeuvre de Aimé Morot (Ch. Moreau-Vauthier). Gazette des Beaux-Arts. 49e Année, 595e Livraison, 3e Periode. Tome XXXVII, p. 87-88. January issue, Paris.
  5. H. Vollmer, B.C. Kreplin, L. Scheewe, H. Wolff and O. Kellner, 1931. Allgemeines Lexicon der Bildenden Künstler von der Antike bis zur Gegenwart. Moehring - Olivié 25th Edition (in German), Publ. Verlag von E.A. Seemann, Leipzig, Germany.
  6. Dupont Vicars (Ed.), 1901. Master Painting's of the World. The White City Art Co. (Publ.), Chicago, Ill. 192 p.
  7. T. Child, 1890. French painters, some modern. Harper's New Monthly Magazine, December 1889 - May 1890. New York, LXXX(480):817-842.
  8. Art in Paris. Outremer. 1877. The Aldine. 8. 8. 260–264. 3 January 2024. JSTOR. 10.2307/20637357. 20637357 .
  9. Art-Notes from Paris. The Schaus Purchases. The Prize Pictures at the Salon. Hooper, Lucy H.. 1880. The Art Journal . 6. 252–253. 3 January 2024. JSTOR. 10.2307/20569562. 20569562 .
  10. Fae Brauer, 2013. Rivals and Conspirators: The Paris Salons and the Modern Art Centre. Cambridge Scholars Publishing, 457 p.
  11. Book: Lesage, Hippolyte (18 ?-19) Auteur du texte. Souvenirs d'un maire-adjoint de Paris : 1880-1895 / Hippolyte Lesage. 3 January 2024. gallica.bnf.fr.
  12. J. Dubern (Ed.), 1895. Variété. La passion des bêtes. Le Messager de l'Ouest: journal de l'arrondissement de Sidi-Bel-Abbès. 24 September, Année 2 — N° 166.
  13. J. Tharaud and J. Tharaud, 1913. Aimé Morot, l'ami des bêtes. Journal de Monaco 2896. 16 September, p. 1-2.
  14. L. Thornton (1990). Les Africanistes, peintres voyageurs: 1860-1960. Art Creation Realisation International Edition, Paris, France. 336 p.
  15. Web site: Les Annales politiques et littéraires : revue populaire paraissant le dimanche / dir. Adolphe Brisson. 24 August 1913. Gallica. 3 January 2024.
  16. E. Benezit, 1976. Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs et graveurs. Volume 10, p. 682. Librairie Gründ. Paris, France. .
  17. American Art News, Vol. 17, no. 2. 1918. American Art News. 17. 2. 1–8. 25589344 . 3 January 2024. JSTOR.
  18. Web site: Ministère de la culture - Base Léonore. www2.culture.gouv.fr. 3 January 2024.
  19. Web site: Ministère de la culture - Base Léonore. www2.culture.gouv.fr. 3 January 2024.
  20. Bureau du Livre d'Or des Peintres, 1906. Le livre d'Or des Peintres Exposants 1903-1905. 3rd edition, Paris, 653 p.
  21. F. Brauer, 2013. Rivals and Conspirators. The Paris Salons and the Modern Art Centre. Cambridge Scholars Publishing, Newcastle upon Tyne, UK.
  22. Web site: Ministère de la culture - Base Léonore. www2.culture.gouv.fr. 3 January 2024.
  23. Web site: Ministère de la culture - Base Léonore. www2.culture.gouv.fr. 3 January 2024.
  24. Anonymous, 3 May 1913. Les Salons de 1913. L'Illustration 3662. Paris, France
  25. Web site: Accueil - Inventaire Général du Patrimoine Culturel. patrimoine.region-bretagne.fr. 3 January 2024.
  26. Web site: The Project Gutenberg eBook of L'Illustration, No. 3677, 16 Août 1913 by Various. www.gutenberg.org. 3 January 2024.
  27. Web site: Ministère de la culture - Base Léonore. www2.culture.gouv.fr. 3 January 2024.
  28. L. Vauxcelles, 1913. Les Arts, Aimé Morot. Gil Blas No. 13323
  29. C. Morro, 1922. Beaux Arts, Artistes vus aux récents Salons. La Revue moderne des arts et de la vie. C-E. Curinier (Dir.). 22e année, no. 7., p.23.
  30. Evolution of a Picture: A Chapter on Studies. Cameron, Edgar. 1901. Brush and Pencil. 8. 3. 121–133. 3 January 2024. JSTOR. 10.2307/25505646. 25505646 .
  31. The Luxembourg Loan Exhibition. Stuart, Evelyn Marie. 1917. Fine Arts Journal. 35. 3. 163–196. 3 January 2024. JSTOR. 10.2307/25587456. 25587456 .
  32. The Paris Salon of 1887. Child, Theodore. 1887. The Art Amateur. 17. 1. 4. 25628578 . 3 January 2024. JSTOR.
  33. My Note Book. Montezuma. 1887. The Art Amateur. 17. 5. 92–93. 25628655 . 3 January 2024. JSTOR.
  34. The Paris Salon of 1889. Child, Theodore. 1889. The Art Amateur. 20. 6. 126. 25628953 . 3 January 2024. JSTOR.
  35. Laure Hillerin, 2014. La Comtesse Greffulhe, l'Ombre des Guermantes, Flammarion, Paris - France. 576 p.
  36. American Art News, Vol. 3, no. 70. 1905. American Art News. 3. 70. 1–8. 25590107 . 3 January 2024. JSTOR.
  37. American Art News, Vol. 4, no. 20. 1906. American Art News. 4. 20. 1–8. 25590174 . 3 January 2024. JSTOR.
  38. The Paris Salon. T. C.. 1885. The Art Amateur. 13. 2. 23–32. 25628364 . 3 January 2024. JSTOR.
  39. The Paris Salon. Child, Theodore. 1884. The Decorator and Furnisher. 4. 3. 87–89. 3 January 2024. JSTOR. 10.2307/25583955. 25583955 .
  40. The Paris Salon. — Triumph of the Realistic Evolution — The Great Pictures of the Year—Works by American Exhibitors. E. V.. 1884. The Art Amateur. 11. 2. 34–27. 25628175 . 3 January 2024. JSTOR.
  41. Notes and Novelties. 1892. The Collector. 3. 12. 186–190. 25601871 . 3 January 2024. JSTOR.
  42. Société d'Aquarellistes Français, 1888. Dixième Exposition, Catalogue, Paris. Librairie Artistique H. Launette & Cie (Eds.), 212 p.
  43. Art News from the Old World. 1905. Brush and Pencil. 15. 5. 124–125. 25503835 . 3 January 2024. JSTOR.
  44. American Art News, Vol. 3, no. 72. 1905. American Art News. 3. 72. 1–8. 25590111 . 3 January 2024. JSTOR.
  45. https://archive.org/details/commentonpeintau00moreuoft Ch. Moreau-Vauthier (1923). Comment on peint aujourd'hui
  46. http://www.ensba.fr/ow2/catzarts/voir.xsp?id=00101-61474&qid=sdx_q0&n=29&sf=&e= Cat'zArts register
  47. https://upload.wikimedia.org/wikipedia/commons/9/93/Aim%C3%A9_Morot%2C_Sc%C3%A8ne_du_d%C3%A9luge%2C_Nancy.jpg Une Scène de Déluge
  48. Web site: Joconde. Portail des collections des musées de France. fr. 3 January 2024.
  49. Explication des ouvrages de peinture, sculpture, architecture, gravure et lithographie des artistes vivant, exposé au Palais de Champs-Élysées le 5 May 1873 (1873). Imprimerie Nationale, Paris.
  50. Web site: Page d'accueil | Musée Carnavalet - Histoire de Paris. 3 January 2024. www.carnavalet.paris.fr. 3 January 2024.
  51. Web site: Quelques oeuvres du Musée barrois - Musée barrois.
  52. F.-G. Dumas, 1880.Catalogue Illustré du Salon, 1880. Motteroz and L. Baschet, Eds. 484 p.
  53. Web site: Le Petit Palais - le Bon Samaritain - petitpalais.paris.fr . 2014-04-24 . https://web.archive.org/web/20150924072137/http://www.petitpalais.paris.fr/fr/collections/le-bon-samaritain . 2015-09-24 . dead .
  54. F.-G. Dumas, 1879. Catalogue Illustré, Salon de 1879. L. Baschet and British and Foreign Artist Association, Eds. 172 p.
  55. F.-G. Dumas, 1882. Catalogue Illustré du Salon, 1882. Librairie d"Art L. Baschet, Ed. 459 p.
  56. L. Enault, 1881. Paris-Salon 1881. Edition ornée de 25 gravures. Published by E. Bernard et Cie and L. Baschet, Paris, 196 p.
  57. F.-G. Dumas, 1881. Catalogue Illustré du Salon, 1881. Librairie d'Art L. Baschet, Ed. 426 p.
  58. T. Chukhlib, 2004. Did Ivan Mazepa Pose For European Artists? The Day No. 1., Kiev, Ukraine.
  59. F.-G. Dumas, 1883. Catalogue Illustré du Salon, 1883. Librairie d'Art L. Baschet, Libraire - Ed. 313 p.
  60. F.-G. Dumas, 1883. Au Salon de 1883. Paris Illustré No. 1. L. Baschet, Libraire - Editeur. 22 p.
  61. Le Monde Illustré, 1884. Le Martyre de Jesus de Nazareth. No. 1411, 12 Avril.
  62. A.-M. de Bélina, 1883. Nos peintres dessinés par eux-mêmes: notes humoristiques et esquisses biographiques. Published by E. Bernard et Cie, Paris. 512 p.
  63. F.-G. Dumas, 1884. Catalogue Illustré du Salon, 1884. Librairie d'Art L. Baschet, Ed. 330 p.
  64. J. de Biez, 1884. Le Salon de Paris Illustré. J. Lemonnyer (Ed.), Paris.
  65. Fifth Avenue Art Galleries, 1892. Catalogue of modern oil paintings, principally of the Barbizon school, owned by Senhor Salvador de Mendonca. Wm. B. Norman, New York, 56 p.
  66. F.-G. Dumas, 1885. Catalogue Illustré du Salon, 1885. Librairie d'Art L. Baschet, Ed. 349 p.
  67. Le Monde Illustré, 1887. Toro Colante. Grand supplément du Monde Illustré. No. 1565, 26 Mars. p. 202.
  68. Web site: Catalogues des collections patrimoniales, Mairie de Paris, France. 2014-04-24 . https://web.archive.org/web/20160324192831/http://a80-musees.apps.paris.fr/Portail/Site/Typo3.asp?lang=FR&id=accueil . 2016-03-24 . dead. french.
  69. Web site: Maisons Victor Hugo | Paris, Guernesey | Site officiel | Maisons Victor Hugo. www.maisonsvictorhugo.paris.fr. 3 January 2024.
  70. Web site: Rezonville, 16 août 1870, la charge des cuirassiers . Musée d'Orsay . 13 March 2023 . fr . 3 January 2024.
  71. F.-G. Dumas, 1887. Catalogue Illustré du Salon, 1887. Librairie d'Art L. Baschet, Ed. 399 p.
  72. Le Monde Illustré, 1887. Le Bataille de Reichshoffen. No. 1586, 20 Août. p. 118.
  73. Web site: Homepage - Palace of Versailles . 2012-04-10 . dead . https://web.archive.org/web/20120410021253/http://en.chateauversailles.fr/homepage . 2012-04-10 .
  74. F.-G. Dumas, 1888. Salon de 1888. Catalogue Illustré. Librairie d'Art L. Baschet, Ed. 375 p.
  75. Web site: Ecole de Nancy - Painting and Art Nouveau . 2014-05-16 . https://web.archive.org/web/20140517122622/http://www.ecole-de-nancy.com/web/index.php?page=peintures-en . 2014-05-17 . dead .
  76. E. Montrosi, 1888. Salon des Aquarellistes Français. 11e Fascicule. Librairie Artistique II. Launette et Cie (Eds.).
  77. P. Loti. Au Maroc. Published in Desbenoît, Collection Jaquet, La gravure sur bois. Collection de gravures extraites de périodiques et de journaux illustrés du XIXe siècle. Tome 6. Les dessinateurs du Monde Illustré.
  78. Ortgies & Co., 1892. Catalogue of paintings in oil and water colors. The private collection of Mr. J. Abner Harper. Auction catalogue, New York. 80 p.
  79. https://gallica.bnf.fr/ark:/12148/bpt6k6517118w/f1.item Le Voleur Illustré
  80. F.-G. Dumas, 1890. Salon de 1890. Catalogue Illustré. Librairie d'Art L. Baschet, Ed. 364 p.
  81. L'Illustration, 3 May 1890. Le salon de 1890, No. 2642, Paris.
  82. L. Enault, 1890. Paris-Salon 1890 par les procédés phototypiques de S. Bernard et Cie., 2e Serie, 2e Volume.
  83. F.-G. Dumas, 1892. Catalogue Illustré de Peinture et Sculpture, Salon de 1892.. Librairie d'Art L. Baschet, Ed. 360 p.
  84. Gil Blas, No. 47, 25 Nov 1894.
  85. F.-G. Dumas, 1893. Catalogue Illustré de Peinture et Sculpture, Salon de 1893.. Librairie d'Art L. Baschet, Ed. 353 p.
  86. F.-G. Dumas, 1895. Catalogue Illustré de Peinture et Sculpture, Salon de 1895.. Librairie d'Art L. Baschet, Ed. 387 p.
  87. F.-G. Dumas, 1898. Catalogue Illustré de Peinture et Sculpture, Salon de 1898. L. Baschet, Ed., p. 382
  88. Les Veb's, 1898. Carnet de l'Amateur. La Vie Parisienne, Dir. A. Baudouin. 7 May issue, p. 263
  89. F.-G. Dumas, 1900. Catalogue Illustré du Salon de 1900. L. Baschet, Ed., Paris. 364 p.
  90. F.-G. Dumas, 1901. Catalogue Illustré du Salon de 1901. L. Baschet, Ed., Paris. 375 p.
  91. F.-G. Dumas, 1902. Catalogue Illustré du Salon de 1902. L. Baschet, Ed., Paris. 351 p.
  92. F.-G. Dumas, 1904. Catalogue Illustré du Salon de 1904. L. Baschet, Ed., Paris. 303 p.
  93. F.-G. Dumas, 1905. Catalogue Illustré du Salon de 1905. Ludovic Baschet, Ed. Bibliothèque des Annales, Paris. 334 p.
  94. F.-G. Dumas, 1907. Catalogue Illustré du Salon de 1907. Ludovic Baschet, Ed. Bibliothèque des Annales, Paris. 299 p.
  95. F.-G. Dumas, 1909. Catalogue Illustré du Salon de 1909. Ludovic Baschet, Ed. Bibliothèque des Annales, Paris. 282 p.
  96. F.-G. Dumas, 1910. Catalogue Illustré du Salon de 1910. Bibliothèque des Annales, Paris. 282 p.
  97. L'illustration, numéro consacré aux Salons de 1911. No. 3557, 29 April 1911.
  98. F.-G. Dumas, 1912. Catalogue Illustré du Salon de 1912. Edition Baschet, Paris. 334 p.
  99. Le Salon Téléphoné. La Vie Parisienne, 11 May 1912, p. 334.
  100. F.-G. Dumas, 1913. Catalogue Illustré du Salon de 1913. Edition Baschet. Bibliothèque des Annales. 332 p.

This article is licensed under the GNU Free Documentation License. It uses material from the Wikipedia article "Aimé Morot".

Except where otherwise indicated, Everything.Explained.Today is © Copyright 2009-2024, A B Cryer, All Rights Reserved. Cookie policy.