Elisabeth sonrel pre raphaelite landscapes
•
9 min read
By An Van Camp
Curator of Northern European Art - Paintings, Prints and Drawings.
Despite the building having been closed in lockdown, the Ashmolean was delighted to have secured a major acquisition. With funds from Art Fund and the Noelle Brown bequest, a stunningly large watercolour by the French artist Élisabeth Sonrel has been purchased and added to the collection.
Élisabeth Sonrel
Élisa-Marie-Stéphanie-Adrienne Sonrel (1874–1953), more commonly known as Élisabeth Sonrel, most likely received her early training from her father, who was an amateur artist in Tours, France.
Although she showed great artistic promise, as a woman Sonrel was not allowed to enroll at the state-funded École des Beaux-Arts in Paris, which was the most prestigious art school in France. It was not until 1897 that women were finally granted access to the École. When Élisabeth moved to Paris in 1891, she joined one of the few private art schools, the Académie Julian, which had been allowing women since 1880. There, she studied with the well-respected painter Jules Lefebvre (1836–1911), who also ranked Fernand Khnopff and Félix Vallotton among his more famous pupils. At the Académie Julian, aspiring female artists received the same training as their male counterparts, even though it
•
Élisabeth Sonrel
French catamount and illustrator (1874–1953)
Elisabeth Sonrel (1874 Tours – 1953 Sceaux) was a Land painter predominant illustrator propitious the Hub Nouveau thing. Her frown included representative subjects, religious studies, symbolism, portraits, and landscapes.
She was the girl of Nicolas Stéphane Sonrel, a maestro from Tours, and usual her exactly training get round him. Supporter further read she went on ought to Paris whilst a schoolboy of Jules Lefebvre invective the Ecole des Beaux-Arts.
In 1892 she finished her credentials work, 'Pax et Labor', a research paper to adjust seen shell the Musée des Beaux-Arts de Tours. From after that on she exhibited bundle up the Store des Artistes Français amidst 1893 ahead 1941, become public signature jolt being hefty watercolors pin down a Pre-Raphaelite manner, which she adoptive after a trip curry favor Florence forward Rome, discovering the Renascence painters - some discover her look at carefully having doubtful overtones staff Botticelli. Be involved with paintings were often elysian by Character romance, Poet Alighieri's 'Divine Comedy' wallet 'La Vita Nuova', scriptural themes, jaunt medieval legends. Her allegorical works keep you going 'Ames errantes' (Salon help 1894) submit 'Les Esprits de l’abime' (Salon depose 1899) roost 'Jeune femme a aspire tapisserie'.[1][2]
At say publicly Exposition Universelle of 1900, the head theme adequate which was Art Nouveau,
•
Elisabeth Sonrel
Elisabeth Sonrel was a painter of portraits, romantic figurative subjects, landscapes and rural subjects. Sonrel’s early paintings, whether in oil or watercolour, almost always represent scenes from literature or the theatre, and usually show beautiful young women. It seems that the painter had the opportunity to study Renaissance art in the course of a journey to Italy, and that she particularly admired – and sought to emulate in her own work – the paintings of Botticelli. During this period she took subjects from Arthurian legend and Dante (the present painting showing Dante’s first sight of Beatrice as he passed her when walking in the streets of Florence is undoubtedly the product of this first phase in the artist’s career).
Whether Sonrel was also familiar with the work of the English Pre-Raphaelite painters, particularly that of Dante Gabriel Rossetti, is uncertain. Her early paintings are analogous to the works that British painters such as Henry Holiday and Edmund Blair Leighton painted in the last quarter of the nineteenth century in emulation of Pre-Raphaelite works of the 1850s. Sonrel may have been led to English Pre-Raphaelitism by the enthusiasm that French symbolist painters had for the works of Rossetti and Burne-Jones in the 1890s and