Paul Desire Trouillebert
(1829 - 1900)
Paul Desire Trouillebert was active/lived in France. Paul Trouillebert is known for portrait and landscape painting.
Paul Desire Trouillebert
Biography from Auctionata
Paul Desiré Trouillebert was born in Paris, France in 1829.
Biography from Roughton Galleries,Inc
Paul Desiré Trouillebert was a French landscape painter and belonged to the artists of the Barbizon school. Trouillebert was a pupil of E. Hébert u. Jalabert.
Works of the artist were exhibited at the Salon de Paris in 1882. His oeuvre presents portraits, landscapes, genre and nude paintings.
Trouillebert mainly lived in his house, which is a museum today. It is situated in Candes-Saint-Martin, located in the region Centre-Val de Loire in the center of France.
Paul Desire Trouillebert passed away in 1900.
Paul Désiré Trouillebert was born in Paris in 1829 and died in the city June 28, 1900. He is considered a portrait, genre and landscape painter from the French Barbizon School. He was a student of Ernest Hébert [1817-1908] and Charles-François Jalabert [1819-1901], and made his debut at the Salon of 1865, exhibiting a portrait. At the Paris Salon of 1869, Trouillebert exhibited "Au bois Rossignolet", which was a lyrical Fontainebleau landscape that received great critical acclaim.
Biography from Modern Art Dealers
Trouillebert concentrated on portraits until about 1881, when he began to focus on atmospheric silvery landscapes steeping in cool damp color. In 1882, he exhibited a large landscape titled "Baignneuses" which was well received and helped him gain a reputation as a landscape painter. Another noted work was commissioned by Edmé Piot, a public works contractor. The painting, "Travaux de relèvement du chemin de fer de ceinture: le pont du Cours de Vincennes" (Cleveland Museum) was of a railway project initiated in 1851, after Napoleon III came to power. The commission included four related views of the Paris railway construction, which was completed in February 1889.
After the 1860's, the misty Barbizon landscapes by Jean-Baptist- Camille Corot's [1796-1875] had become astonishingly vogue, which brought about a trove of imitators. His followers and students; Henri Joseph Constant Dutilleux [1807-1865], George Devillers, Achille François Oudinot [1820-1901], Edouard Brandon [1831-1887] and Trouillebert were not trying to mislead the public, he was their idol. However, the greatest confusion has always been over works by Corot and Trouillebert because both artists painted river landscapes at dawn or dusk with a very similar approach, palette and style. Like Corot, Trouillebert painted a wide variety of subjects, including genre scenes, portraits and nudes.
Trouillebert would receive the most attention as a result of an 1883 court case involving one of his paintings. The painting "La Fontaine des Gabourets" had been sold by one of Paris' more prominent dealers George Petit to writer Alexandre Dumas fils. Trouillebert's signature and been removed and resigned Corot. The fake was discovered by Robaut and Bernheim-Jeune and returned to the original seller, Tedesco. Trouillebert, who had nothing to do with the fraud, brought legal action against the guilty parties to regain his reputation and clear his name. The trial made all of the papers and Trouillebert won his case. George Pettit was also cleared because he had purchased the painting in good faith. Both artists benefited from all of the attention brought by the newspaper articles.
Paul Désiré Trouillebert enjoyed a very successful career and a continuous demand for his work. His paintings were included in some the world's most prominent public and private art collections, including that of Edgar Degas, who owned several of his canvases.
Musée de Puy: "Effet de Matin, bouleau et rivière", "Effet de pluie, environs de Vichy"
Nice: "Servante de harem"
Reichenberg: "Paysage au bord d'une rivière"
Reims: "La baigneuse"
Saumur: "Portrait de femme", "Ariane abandonnée", "La Loire á Montsoreau"
Cleveland Museum: "Travaux de relèvement du chemin de fer de ceinture: le pont du Cours de Vincennes"
Hermitage Museum, Saint Petersburg, Russia: "Bank of the Loire near Chouze, 1893"
E. Benezit, Grund, Vol. X, pg. 264
Dictionnaire Des Peintres Paysagistes Français Au XIX Siècle, Harambourg, pg. 332 and front cover
Claude Marumo, Paris: Mr. MARUMO was previously the curator for the Barbizon Museum, and he is the author of the work "École de Barbizon et les peintres de paysages au XIXè siècle" (Ed. l'Amateur d'Art 1975). He is currently working on the catalogue raisonné for Désiré Trouillebert (1829-1900) - this will be available at the beginning of the second half of 2004.
Born in Paris in 1829, Paul Trouillebert began his artistic training in
the studio of Auguste-Antoine-Ernest Hébert, an artist whose oeuvre
encompassed diverse subject matter, ranging from portraits to mythology
to landscapes of the Roman campagna.
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Trouillebert debuted at the Paris Salon of 1865 with Portrait de Mlle A,
and at every Salon from 1865 to 1872, he exhibited at least one
portrait, despite the fact that his interest had shifted primarily to
landscape painting. The artist's reputation is based upon his
landscape paintings, and his similarity to Jean-Baptiste-Camille Corot
and this linked him closely to the other artists of the Barbizon School.
was much more than a landscape artist. His occasional forays into
the world of Orientalism are remarkable, and his ability in rendering
the nude female form is often overlooked. In fact, his most
well-received composition was Les Bainneuses, his entry into the 1882 Salon.
Henri Loyette wrote, 'Trouillebert was mostly known for his landscapes
in the manner of Corot, that he repeated countless times during his
entire life. These works make one forget that this student of
Hébert could be an original painter, as proven by L'Orientale' (H. Loyette, 'Acquistions, 'Revue de Louvre, vol.42, October 1992, p.71).
greatest merit of Trouillebert is to be a complete painter; he never
confined himself to a genre: he was also just as skillful at bringing
to life the flesh of a women as painting bright and hazy landscapes, of
the banks of the Loire or the Oise with the soft aspects of the trees,
of spring mornings, of portraits or of still life of a true
realism. His oeuvre which was considerable, conserves a tonality
that is its own, an incontestable originality and strong personality
that differentiates it from Corot and which assures him one of the
greatest places, even if it is not the first among contemporary
landscape painters' (Edward-Joseph, Dictionnaire biographique des artistes contemporains: 1910-1930, Paris, Librarie Gund, 1934, pp. 353-354).
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