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 Everett B D Fabrino Julio  (1843 - 1879)

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Lived/Active: Louisiana/Missouri / France      Known for: portrait, genre, landscape and animal painting

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Ad Code: 3
Everett B D Fabrino Julio
from Auction House Records.
Bayou Landscape
Artwork images are copyright of the artist or assignee
This biography from the Archives of AskART:
A native of St. Helena in the South Atlantic Ocean, Everett Julio became a landscape, history, genre, and landscape painter who lived in New Orleans and St. Louis. Little is known of his childhood except that as a young man he studied in Paris and then at the Lowell Institute in Boston, apparently supported by parents who encouraged his obvious talent. He was active in St. Louis from 1864 to 1870, and during this time did the work that brought him the most recognition of his career: "The Last Meeting of Lee and Jackson", an 1869 painting of these two figures of the Civil War. The next year, he exhibited it in New Orleans, where he had just moved and settled a studio on Canal Street over the gallery of Frederic Seebold, a gathering place of art connoisseurs.

However, the work brought him little financial gain. He devoted much of his talent to painting portrait commissions and the New Orleans countryside including rural genre scenes.

In 1873, Julio returned to Paris and studied with Leon Bonnat and exhibited at the Paris Salon 1874-1875. He returned to New Orleans and opened a drawing academy with grand plans including lectures by himself, but primarily he devoted himself to his own painting including a large painting depicting a sugar plantation for the Centennial Exposition in Philadelphia. He received much praise in the New Orleans newspapers, and also gained more widespread attention when he took a tour of Texas and the West.

But his health began to decline, and on July 4, 1879, he left New Orleans for northwest Georgia where the climate was more moderate. He died at age 36.

Andres Molinary carried on Julio's vision of a New Orleans art school and took over Julio's gallery and art collection.

"Though his career was brief, Julio's important contributions to the Louisiana school of painting cannot be overestimated. His commitment to the academic artistic community of New Orleans was demonstrated as both an advocate of arts education and as a gallery owner. Most importantly, Julio proved his artistic merit with a gifted facility that produced a small but acclaimed oeuvre of work ranging from the gigantic to the miniature, from historic portraiture to genre scenes, to visions that defined the Southern landscape". (169)

New Orleans Auction Galleries, Inc., Catalogue of November 22, 2003

This biography from the Archives of AskART:
Everett B. D. Fabrino Julio resided with the Rev. Charles Wallace Howard family and taught at their Spring Bank School for Girls; Julio died there on 15 Sept 1879 after becoming ill.  Thus, Julio was buried in the Howard Cemetery near where the antebellum home "Spring Bank" was located (301 Hall Station Road, north of Kingston, GA).  A gravestone marks the site.  The property is in the care of Bartow County (GA) and is marked with a historical marker.

Information provided by George H. Waring.

Biography from Charleston Renaissance Gallery:
EVERETT B. D. JULIO (1843-1879)

Born on the remote South Atlantic island of St. Helena—the place of Napoleon’s final exile—Everett B. D. Julio is believed to be of Scottish and Italian descent. Little is known about his childhood except that he was sent to Paris for his early education. Around 1860, he immigrated to America, living first in Boston and then in St. Louis. It was in the latter city that Julio created his masterwork, The Last Meeting of Lee and Jackson (1869; Museum of the Confederacy, Richmond, Virginia), a monumental history painting which depicts the final conference between Confederate Generals Robert E. Lee and Thomas “Stonewall’ Jackson. Measuring thirteen feet by nine feet, the painting set Julio on a marketing tour through the South, where he hoped to find a purchaser for the iconoclastic work. By 1870, the artist was established in New Orleans, where he exhibited local landscapes and portraiture at the Wagner Gallery in an effort to generate income as he struggled to sell The Last Meeting. In 1874-1875, buoyed by the successful negotiation of the engraving rights to the painting, Julio traveled to France, studying with Leon Bonnat in Paris. Plagued by fragile health and burdened with debt, he returned to New Orleans, determined to live out his “desire to paint for the South.” Working from a studio on Carondolet Street, he produced genre scenes and Louisiana landscapes, offered instruction, and copied photographs.

In 1878, Julio made a trip to the American West, recording several images of Texas ranch life. These works reveal Julio’s remarkable technical expertise in portraying mounted equestrian figures. Upon his return to New Orleans, one reviewer wrote that the artist had not “forgotten the easel and the brush in the excitement of the hunt and [that] the ride of the horse has not tired him enough to prevent him from reproducing a few of the scenes which he has witnessed.” It was while on another trip a year later—to Kingston, Georgia—that Julio succumbed to consumption and died at the age of thirty-six, having never sold The Last Meeting, the painting that would define his artistic legacy.

This essay is copyrighted by the Charleston Renaissance Gallery and may not be reproduced or transmitted without written permission from Hicklin Galleries, LLC.

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