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Catalog
Georges ROUGET (Paris, 1783-1869)
Self-portrait of the artis…
See original version (French)
Georges ROUGET (Paris, 1783-1869)
Self-portrait of the artis…
See original version (French)
Lot no. 42
Description
Georges ROUGET (Paris, 1783-1869)
Self-portrait of the artist
Canvas.
Old restorations.
117 x 89.5 cm
Provenance: the artist's descendants.
Exhibitions: David et ses élèves, Musée des Beaux Arts de la ville de Paris, April-June 1913, n° 66, lender Madame Rouget.
Several labels on the back: exposition franco-espagnole, Beaux-Arts (label incomplete on the frame); Moniteur des arts (43 rue saint Georges), label incomplete on the back of the frame; musée de Rouen, Exposition municipale des artistes vivants, rue du Marché-Saint-Honoré, registered under no. 849.
Provenance: Salon of 1837, no. 1602; inventory after the artist's death (inventory no. 37).
Bibliography: Alain Pougetoux, Georges Rouget, élève de Louis David, musée de la Vie romantique, 12 September - 17 December 1995, Paris Musées, p. 110, n° 133.
Related works: lithograph (bust) by Louis Dupré (1789-1837) dated 1836, private collection; anonymous line engraving (bust) B.N. Estampes.
A favourite pupil and right-hand man of Jacques-Louis David, Georges Rouget made a major contribution to major imperial commissions, including Le Sacre de Napoléon, where he is depicted in the gallery alongside his master. The latter's exile and the political vicissitudes of the century did not prevent him from embarking on a remarkable career as a portrait painter.
a distinguished career as a portraitist and history painter under the Restoration and then the July Monarchy. In the 1830s, the Musée de l'Histoire de France, founded by Louis Philippe and housed in the Château de Versailles, commissioned many portraits from him for its galleries of illustrious figures.
It was during this period that the artist produced this self-portrait.
Restoration of the painting revealed that it had been executed on a canvas previously used for a female portrait 1, certain elements of which are still visible (traces of a red dress and a pearl necklace). This discovery is all the more remarkable in that there appears to be no other case of a
similar. The very subject of the work would normally have demanded special attention from the artist, especially as it was intended to be exhibited at the Salon of 1836; we do not know why it was abandoned in favour of our self-portrait. 1. Pougetoux, 1995, p. 110.
See original version (French)
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