Oil On Canvas, Real Flavor of Old Masters

All VERNET, Claude-Joseph 's Paintings
The Painting Names Are Sorted From A to Z

ID Image  Painting (From A to Z)       Details 
A Seashore, VERNET, Claude-Joseph
 A Seashore   1776 Oil on copper, 62 x 85 cm
Belisarius, VERNET, Claude-Joseph
 Belisarius   1776 Oil on canvas, 98 x 129 cm Mus?e Fabre, Montpellier The theme of Belisarius was much in vogue from the 1770s, and in addition to Jacques-Louis David, rival artists of David's own generation, such as Pierre Peyron and Fran?ois-Andr?Vincent, had painted their own versions of the subject. Vincent's Belisarius is reduced to begging, and receives the charity from a soldier in Justinian's army. Here there is no sense of recognition, the blind former general is oblivious to the identity of his benefactor. Vincent also took the unorthodox step of creating a group of half-length figures, an unusual device in France at this time. Author: VINCENT, Fran?ois-Andr? Title: Belisarius Form: painting , 1751-1800 , French , historical
La tour Apigne a Rennes, VERNET, Claude-Joseph
 La tour Apigne a Rennes   1836(1836) Medium oil on canvas Dimensions 31.5 x 38 cm cyf
Morning, VERNET, Claude-Joseph
 Morning   mk156 1760 Oil on canvas 65.5x98.5cm
Shepherd in the Alps  we r, VERNET, Claude-Joseph
 Shepherd in the Alps we r   Oil on canvas Mus??e des Beaux-Arts, Tours
Shipwreck, VERNET, Claude-Joseph
 Shipwreck   1759 Oil on canvas, 96 x 134,5 cm
Shipwreck  wr, VERNET, Claude-Joseph
 Shipwreck wr   1759 Oil on canvas, 96 x 134,5 cm Groeninge Museum, Bruges
Storm with a Shipwreck, VERNET, Claude-Joseph
 Storm with a Shipwreck   1754 Oil on canvas, 87 x 137 cm
Storm with a Shipwreck, VERNET, Claude-Joseph
 Storm with a Shipwreck   1754, Oil on canvas, 87 x 137 cm, Wallace Collection, London cyf
The Artist's Studio, VERNET, Claude-Joseph
 The Artist's Studio   52 x 64 cm Private collection The picture shows the artist's as a crowded and social space, where work was more likely to be interrupted by loungers and visitors, fencing matches and dog fights, than by melancholy soul-searching. Yet in fact this is an image of frustration. The fall of Napoleon had left the once-fashionable Vernet bereft of subjects and patrons, and his political views had excluded him from the Paris Salon of 1821. He had been obliged to show in this very studio, including his picture of it as an ironic symbol of the impasse to which he had been brought. Author: VERNET, Horace Title: The Artist's Studio Form: painting , 1801-1850 , French , interior
The City and Harbour of Toulon, VERNET, Claude-Joseph
 The City and Harbour of Toulon   mk156 1756 Oil on canvas 165x263cm
The Town and Harbour of Toulon aer, VERNET, Claude-Joseph
 The Town and Harbour of Toulon aer   1756 Oil on canvas, 165 x 263 cm Mus??e du Louvre, Paris
View of Naples uit, VERNET, Claude-Joseph
 View of Naples uit   1748 Oil on canvas, 100 x 198 cm Mus??e du Louvre, Paris
View of Naples with Nt.Vesuvius (mk05), VERNET, Claude-Joseph
 View of Naples with Nt.Vesuvius (mk05)   Canvas,39 3/4 x 77''(99 x 197 cm)Acquired by the Louvre in 1976 R.F
View of the Gulf of Naples (mk05), VERNET, Claude-Joseph
 View of the Gulf of Naples (mk05)   1748 Canvas,39 x 77 1/4''(100 x 198 cm)Formerly in the Pereire Collection R.F

VERNET, Claude-Joseph
French Painter, 1714-1789 Painter. Vernet probably received his first lessons in painting from his father, Antoine, who then encouraged him to move to the studio of Philippe Sauvan (1697-1792), the leading master in Avignon. Sauvan supplied altarpieces to local churches and decorative works and mythologies for grand houses in the area. After this apprenticeship Vernet worked in Aix-en-Provence with the decorative painter Jacques Viali ( fl 1681- 1745), who also painted landscapes and marine pictures. In 1731 Vernet independently produced a suite of decorative overdoors for the h?tel of the Marquise de Simiane at Aix-en-Provence; at least two of these survive (in situ) and are Vernet's earliest datable landscapes. These are early indications of his favoured type of subject, and Vernet would have studied works attributed to such 17th-century masters as Claude Lorrain, Gaspard Dughet and Salvator Rosa in private collections at Aix and Avignon. Three years later Joseph de Seytres, Marquis de Caumont, who had previously recommended Vernet to the Marquise de Simiane, offered to sponsor a trip to Italy.

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