Fabre Museum | Visit to Montpellier on Wednesday March 7, 2018 | Digital album by Sonia Kanclerski

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Fabre museum 2018, 03/07/2018.

This album made by Sonia Kanclerski is licensed under CC BY-SA 4.0

Photos taken with a Canon IXUS 220 HS.

Original license:

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The MIT License (MIT). Copyright (c) 2015 Max Valiano (LICENSE).

http://unitegallery.net

Photo: Sonia Kanclerski digital albums online.

Visit of the Fabre museum in Montpellier on the Wednesday 7^th of March 2018.

Entrance to the Fabre museum in Montpellier, not far from Place de la Comédie.

Model of the building hosting the Fabre museum, front view. It is exhibited inside the museum, in the Massilian vestibule.

Model of the building hosting the Fabre museum, side view. It is exhibited inside the museum, in the Massilian vestibule.

Summer. 1785. Jean-Antoine Houdon.Marble.As with his during winter, Houdon takes liberties with traditional iconography. From Ceres, he keeps the sheaf of wheat but associates it with an anachronistic watering can and transforms the goddess into a kind gardener.

Ulysses and Neoptolemus take away the bow and arrows of Herakles from Philoctetes. 1800. François-Xavier Fabre.Oil on canvas .Commissioned by the English collector and patron based in Florence, Lord Bristol, inspired by Sophocles

A room, perhaps that of Montpellier in the Age of Enlightenment, which contains four sculptures and three paintings.

Bust of Molière. 1778. Jean-Antoine Houdon.Plaster.At the end of 1778, Fontanel entered into contact with Jean-Antoine Houdon in anticipation of the official founding of the Society of Fine Arts. The sculptor sold an Ecorché of his production for the class of the Montpellier drawing school, and offered this bust of Molière, a plaster print of a model created the previous year for the Comédie Française. This is the first work in the first public collection in Montpellier.

A wall in room 20: the Greuze room. Neoclassicism.

Voltaire seated, between 1780 and 1790. Jean-Antoine Houdon.Terracotta, patinated plaster and wood (plinth).When Voltaire died in 1778, Houdon received a commission from the Comédie Française for a marble sculpture representing the seated philosopher. It was in this context that he executed this example in terracotta and plaster, which he disposed of when he sold his workshop in 1795. Fontanel acquired it in 1802, and presented it on January 5, 1803 during of the inauguration with great fanfare of its elegant art gallery on rue des Etuves in Montpellier. It was only in 1874 that his grandson, Auguste César Fages, donated it to the Fabre museum.

Loves on clouds, fourth quarter of the 18th century.Anonymous French from the end of the 18th century century.Terracotta.

Portrait of Jacques Gamelin, circa 1777-1785. Attributed to Guillaume-Joseph ROQUES.Oil on canvas.Jacques Gamelin, born in Carcassonne, trained at the Toulouse Academy, then went to Paris to attempt the Prix de Rome, without success. Protected by Baron de Puymaurin, founder of the Academy of Toulouse and soon of the Montpellier Society, Gamelin was able to reach Rome. There he met Cades, Füssli and Sergel who profoundly influenced his epic, tormented and dramatic style. In 1780, he became head of the Montpellier drawing school, which he left two years later to devote himself to painting religious cycles for the churches of Perpignan, Narbonne and Carcassonne. During the Revolution, he was behind the creation of museums in these last two cities.

Exhibition of drawings in room 23: cabinet Bonnet-MelFirst elements of line drawing in the Complete Course of Studies for the Figure.[A few words about the Free Drawing School in Montpellier]

Exhibition of drawings in room 23: cabinet Bonnet-MelDrawing of a left hand perhaps holding a bunch of grapes.[A few words about the Free Drawing School in Montpellier]

Exhibition of drawings in room 23: cabinet Bonnet-MelDrawing of a right hand in the air with the wrist tilted and the fingers contracting.[A few words about the Free Drawing School in Montpellier]

Exhibition of drawings in room 23: cabinet Bonnet-MelDrawing of a nose and a mouth.[A few words about the Free Drawing School in Montpellier]

Exhibition of drawings in room 23: cabinet Bonnet-MelDrawing of the ears.[A few words about the Free Drawing School in Montpellier]

Exhibition of drawings in room 23: cabinet Bonnet-MelDrawing of a mouth.[A few words about the Free Drawing School in Montpellier]

Exhibition of drawings in room 23: cabinet Bonnet-MelEye drawing.[A few words about the Free Drawing School in Montpellier]

Exhibition of drawings in room 23: cabinet Bonnet-MelDrawing of a forehead and eyes.[A few words about the Free Drawing School in Montpellier]

Portrait of aged Fabre. 1835. François-Xavier Fabre.Oil on canvas.A legacy from François-Xavier Fabre in 1837.

Eve tempted by the serpent. Salon of 1834. Pierre-Claude-François Delorme.Oil on canvas.Donated by Charles Delorme in 1860.

Theseus fighting the centaur Bienor. 1874 (first edition 1850). Antoine Louis Barye.Bronze. Bequest of Alfred Bruyas in 1876.

The fallen angel. 1847. Alexandre Cabanel.Oil on canvas.This subject borrowed from the Old Testament is the artist

Venus. 1875. Alexandre Cabanel.Oil on canvas.Purchase of the town in 1895.

The scrublands of Pic Saint Loup. 1859. Eugène Castelnau.Oil on canvas.Donated by the Castelnau family in 1894.

The scrublands. Eugène Castelnau.Oil on canvas.Donated by the artist in 1895.

On the port. 1927. Jean Hugo.Oil, sand and mixed media on wood.Purchase of the Montpellier Urban Community in 2011.

Three works all in black: a painting hanging on the wall, a sculpted head and a fencer.[An affectionate thought to my daughter Flora who practices fencing.]

The Juke Box. 1976. Shirley Jaffe.Oil on canvas.New York painter, Shirley Jaffe plays with bright colors, which she combines in unusual combinations. Linked to geometric abstraction, she creates works inspired by the dispersion she perceives in the city, creating a real