Louis- Auguste
brun, peintrede marie-
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4 .03 . – 10 .07. 2016www.brun.chateaudeprangins.ch
Musée national suisse | Château de PranginsCH – 1197 Prangins | T. +41 (0)58 469 38 90www.chateaudeprangins.ch | Ma – Di 10.00 – 17.00
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Press Pack Contents
1. Press release
2. The exhibition
a. Texts of the exhibition rooms b. Visuals of principal exhibits c. Foreword to the catalogue d. Louis-Auguste Brun : chronology
3. Accompanying the exhibition
a. Families and younger visitors: children’s questions b. “Rose water, eau de Cologne and perfumed gloves” c. Special day and final exhibition day
4. About Château de Prangins
5. Practical information and contacts
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1. Press release
Louis-Auguste Brun, Painter to Marie-Antoinette. From Prangins to Versailles (4.03.-10.07.2016) From 4 March to 10 July 2016, the Swiss National Museum – Château de Prangins presents an exhibition devoted to the remarkable career of Louis-Auguste Brun, a painter from the Geneva school best known for his equestrian portraits of Queen Marie-Antoinette. Some one hundred works, together with a film recounting the surprising last years of his life as both art dealer and Vaud patriot, allow visitors to explore the life of an individual who defies easy classification. With scent-based guided tours and a Marie-Antoinette-inspired menu at the Café du Château, it’s an experience for all the senses. A skilled draughtsman and an outstanding painter of portraits, animals and landscapes, the Swiss artist Louis-Auguste Brun (1758-1815) is today principally known for the works he produced at the French court, in particular two equestrian portraits of Marie-Antoinette. In fact, however, there is much more to his oeuvre. How did a young painter from the village of Rolle who completed his apprenticeship with a local craftsman come to enjoy the splendours of Versailles and gain an introduction to the Queen herself? The exhibition retraces his remarkable story in around a hundred oil paintings and drawings. It highlights the decisive role of Brun’s encounters in the early stages of his career at Château de Prangins, a centre of cultural life in the Vaud region. The rest is down to Brun’s talent as an artist. Entirely at his ease depicting the diversions and carefree life of the privileged class, Brun begins producing large numbers of portraits, landscapes, hunting and horse racing scenes from the time he arrives in Paris. The exhibition also presents the works created on the shores of Lake Geneva after his return from France. It ends with a film recounting the surprising final years of his life, as an art dealer, collector and Vaud patriot. Exhibition curators: Martine Hart and Helen Bieri Thomson
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2. The exhibition
2.1 Texts of the exhibition rooms Early life and education 1758 – 1775 Born in Rolle in 1758, Louis-Auguste Brun comes from a family of craftsmen: his forefathers are architects and he starts out working with his father, who is a furniture maker. At the age of twelve, he embarks on an apprenticeship under the painter Jean Antoine Brun (who is not related to him). Descended from a line of painters and craftsmen, Jean Antoine Brun has specialised in landscape painting, producing decorative works for the grand residences of the region. One of his associates is Jacques Sablet the younger, who will become a painter of great renown. Sablet is charged with teaching architecture and perspective to the young Louis-Auguste. Louis-Auguste Brun, who moves to Geneva in 1776, is taken under the wing of the great collector François Tronchin. He also trains with his new friend, Pierre-Louis de la Rive. De la Rive, who is older than Brun, has been strongly influenced by the teachings of Nicolas-Henri-Joseph de Fassin, known as Chevalier Fassin, in Geneva. Originally from Liège, Fassin encouraged his pupils to copy the Dutch masters of the 17th century, such as Nicolas Berchem and Philips Wouwerman. At de la Rive’s prompting, Brun decides to do likewise. Prangins, the beginnings of a career 1775 – 1780 The year 1775 sees a decisive event in Brun’s artistic career: he presents himself at Château de Prangins and requests permission to copy the paintings from the collection of Louis-François Guiguer. At the time, Prangins is a hub of social and cultural life in the Lake Geneva region. Here, Brun meets numerous painters, including the young Pierre-Louis de la Rive, who advises him to move to Geneva in order to continue his training. At the Guiguers’, he also encounters members of the nobility who will exert a lasting influence on his career.
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Arrival in Paris and first successes at the court 1781-1783 Apparently thanks to Lord Mount Stuart, an acquaintance of the Baron of Prangins, Brun obtains an introduction to Victor Amadeus III, King of Piedmont-Sardinia. After a brief period in Turin, he travels to Paris in 1781. He has the good fortune to find work swiftly, first for the Duke of Luynes and then for the royal family, probably assisted by the recommendations of Victor Amadeus III. Indeed, there were close ties between the royal families of Piedmont and France resulting from a series of marriages: three of Victor Amadeus’s children marry the brothers and sister of Louis XVI. These matrimonial arrangements gave rise to numerous exchanges of portraits. Marie-Antoinette Louis-Auguste Brun is principally known for his two equestrian portraits of Marie-Antoinette. The biographical information presented here tells the remarkable story of France’s most famous queen and provides a context for the two works by Brun, which date from 1783. This watershed year marks the end of a period of relative carefreeness for the sovereign, who can congratulate herself on having finally given France an heir to the throne. Yet it is also the start of a decade of misfortune: the Queen moves rapidly from unpopularity to being the object of fierce hatred which will end on the scaffold in 1793.
Royal leisure pursuits : Hunting and equestrian sports 1782-1789 Louis-Auguste Brun is particularly adept at capturing the diversions, insouciance and frivolity of the privileged class, and so comes to paint the outdoor pursuits of the aristocracy in the dying days of the Ancien Régime. One of the King and his courtiers’ favourite activities is hunting: a field in which Brun, with his penchant for hunting scenes, comes to specialise. He is also an enthusiastic follower of horse racing, a new sport imported from England, which flourishes in France during the reign of Louis XVI.
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Celebrating the landscape - Around Lake Geneva 1786-1800 Throughout his time in Paris and Versailles, Brun never forgets the region of his birth. Between 1781 and 1789, he takes the opportunity of several trips to Switzerland to execute commissions. Then comes the Revolution, a period of turmoil in Paris but also in Geneva and the Vaud region. In 1792, the painter acquires a property at Versoix. Brun’s preferred genres during the last part of his career are landscapes and hunting scenes as well as portraits. At the turn of the century, he gives up painting to devote himself to politics, and to his activities as an art dealer and collector. Brun, the Vaud patriot Although attached to the French royal family, Brun is known for his liberal ideas. Shortly after marrying for the second time in 1795, he becomes involved in revolutionary activism with his childhood friend Frédéric-César de La Harpe. Together, the two men will work to liberate the Vaud region from Bernese rule. From Paris, de La Harpe sends instructions, tracts and petitions to Versoix, which is in French territory at the time. Brun is tasked with forwarding them to their intended recipients. Travelling around the Vaud countryside with his painter’s paraphernalia, he does not arouse the suspicions of the Bernese authorities. However, Brun’s political engagement is not reflected in his art, and his favoured subjects remain landscapes and hunting scenes. Cabinet of Drawings - The perfect line Brun was first and foremost an outstanding and prolific draughtsman, and his oil paintings are, accordingly, relatively few in number. He was remarkably skilled at capturing the character of a person or the movement of an animal through the use of line. Myriad drawings attest to his involvement with the royal family and served as studies for paintings executed at Versailles. A number of sketches record journeys, towns and countrysides through which he travelled. Unsurprisingly, his favourite subjects include portraits, landscapes, horses and dogs.
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2.2 Visuals of principal exhibits Full media documentation and a selection of photographs are available for download from the “Media” section of the website www.chateaudeprangins.ch.
Louis-Auguste Brun. Portrait of Marie-Antoinette on
Horseback, 1783. Oil on canvas, 59 x 64.5 cm. Musée
national des châteaux de Versailles et de Trianon,
Versailles.
© Bridgeman Images, Paris
Marie-Antoinette and Louis XVI Hunting with Hounds,
1783. Oil on canvas, 100 x 81.5 cm. Versailles, Musée
national des châteaux de Versailles et de Trianon.
© Château de Versailles, RMN-Grand Palais. Photograph
by Christophe Fouin
Study of a woman mounting her horse side-saddle,
around 1782. Black chalk, brush and Indian ink, white
gouache highlights on bluish paper, 30.7 x 25.2 cm.
Collection des Musées d’art et d’histoire de la Ville de
Genève, Cabinet d’arts graphiques, Collection de la
Société des Arts de Genève.
© Cabinet d’arts graphiques des Musées d’art et
d’histoire, Genève, Collection de la Société des Arts de
Genève. Photograph by André Longchamp
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Madame Suzanne Necker, born Curchod, 1787. Graphite
crayon, black chalk, red chalk highlights, stamp and
watercolour on paper prepared in white, oval, 14 x 11.5
cm. Private collection.
©Photograph by Claude Bornand, Lausanne
River landscape with patrician residence, around 1776-
1778. Oil on canvas, 194 x 179 cm. Private collection.
©Photograph by Claude Bornand, Lausanne
View of Château de Prangins from the North-East,
around 1779. Oil on canvas, 36 x 45 cm.
© Swiss National Museum
Study of a dog lying down scratching its ear, 1782-1785.
Black chalk and white chalk on paper, 26.2 x 31 cm,
Collection des Musées d’art et d’histoire de la Ville de
Genève, Cabinet d’arts graphiques, Collection de la
Société des Arts de Genève.
© Cabinet d’arts graphiques des Musées d’art et
d’histoire, Genève, Collection de la Société des Arts de
Genève. Photograph by André Longchamp
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2.3 Foreword to the catalogue From Prangins to Versailles. The subtitle of the exhibition Louis-Auguste Brun, Painter to Marie-Antoinette may appear somewhat surprising at first: what links a village in the Vaud region of Switzerland to the residence of the kings of France? In fact the research carried out by art historian Martine Hart, who is compiling the catalogue raisonné of Brun’s works, highlights the key role played by the artist’s encounters at Château de Prangins in the early days of his career. In his remarkable monograph devoted to Pierre-Louis De la Rive, Patrick-André Guerretta had already revealed the importance of Château de Prangins which, at the instigation of Louis-François Guiguer, Baron of Prangins who resides there from 1771 to 1786, becomes “one of the leading centres for the social life and cultural cosmopolitanism of the Lake Geneva Region.” Men of letters, scholars, musicians and artists from Switzerland and elsewhere are regular visitors to the Baron’s circle, as his exceptional journal testifies. At Prangins, the young Brun meets many painters and members of the nobility who will exert a lasting influence on his career. Does that suffice to explain how a young painter from the village of Rolle who completed his apprenticeship with a local craftsman came to enjoy the splendours of Versailles and gain an introduction to the Queen herself? In fact, the motivation for Brun’s departure from his native region in search of new horizons came very much from Château de Prangins: in 1776 Louis-François Guiguer, whom Brun had visited to copy paintings, encouraged him to embark on a study trip to Mannheim and Dresden with the Genevan painter Pierre-Louis De la Rive, a close friend of the Baron. The rest is down to Brun’s artistic talent. Through some one hundred paintings and drawings, the exhibition retraces every stage in Louis-Auguste Brun’s career and shows that there is far more to his work than the two frequently reproduced equestrian portraits of Queen Marie-Antoinette. The initiative for this undertaking came from Martine Hart, who realised that Prangins, where Brun’s career began, would be an appropriate place to present a retrospective of his work. We are sincerely grateful to her for this excellent idea and her exemplary dedication to the project as joint curator. Our thanks also go to the Association des Amis du Château de Prangins. It was through the support of its members that, in 2009, the Swiss National Museum was able to acquire the two oil paintings which Brun presented to Louis-François Guiguer and his wife as a gesture of gratitude on his return from Germany: a copy of a work by Paulus Potter made in the Dresden gallery, together with an accompanying view of Château de Prangins. The Association has also lent considerable support to fund-
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raising activities, allowing us to mount an exhibition on the desired scale and publish this catalogue. Alternating between Switzerland and France, the career of Louis-Auguste Brun illustrates the importance of networks and the cosmopolitanism of the time. It also highlights the role of Château de Prangins as a place where art and ideas flourish and circulate. We hope that this place of culture, now a museum, will continue to promote exchange between Switzerland and the other countries of Europe, as it does today with this publication and the exhibition that accompanies it. Helen Bieri Thomson Nicole Minder Curator I Château de Prangins Director I Château de Prangins Catalogue of the Exhibition Published by the Bibliothèque des Arts CHF 29.-
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2.4 Louis-Auguste Brun : Chronology
1758 Louis-Auguste Brun is born in Rolle. He comes from a Protestant family originally from the Dauphiné province of France. 1770 Louis-Auguste Brun begins an apprenticeship under the painter Jean Antoine Brun. 1775 Louis-Auguste Brun takes up residence in Nyon and begins giving drawing lessons. He presents himself at Château de Prangins and requests permission to copy the works from the baron’s collection. 1776 Louis-Auguste Brun moves to Geneva, where he continues his training according to the precepts of Chevalier Fassin. September 1776 Louis-Auguste Brun accompanies Pierre-Louis de la Rive to Germany to further his training. 1778 Louis-Auguste Brun marries Jeanne Martin, a young woman from Rolle. At Prangins, he associates with the Danish painter Jens Juel. 1780-1781 Spends brief, intermittent periods at the court of Turin. 1781 Louis-Auguste Brun moves to Paris and enrols at the Royal Academy where, for a short time, he attends lessons given by Jean-Baptiste Marie Pierre, the King’s First Painter, who specialises in history painting. 1782 Spends time with the Duke of Luynes, at Dampierre in the Île-de-France. First works for the royal family. 1783 Equestrian portraits of Queen Marie-Antoinette. 1786 Brun lives in Paris but makes frequent visits to Switzerland, as confirmed by a note in the journal of Louis-François Guiguer, Baron of Prangins. 1787 Brun paints the portrait of Suzanne Necker, the wife of Jacques Necker, Louis XVI’s finance minister from 1776 to 1781. 1788 Jacques Necker is recalled by the King to take over control of the kingdom’s finances. Louis XVI grants Brun a pension. 1789 (April) Brun leaves Versailles for Geneva. 1789 (November) In Geneva, Brun signs a power of attorney authorising his Parisian bankers to manage his financial interests 1792 Brun buys a property at Versoix. He exhibits at the second Salon of the Société des Arts de Genève. April 1793 Brun is in Paris to sign a power of attorney empowering his banker Grand to look after his interests. The artist appears to have taken the opportunity to visit Marie-Antoinette, who is imprisoned in the Temple.
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January 1794 Brun’s lodgings are raided on the orders of the commissioner of the Ain département. The correspondence found during the search reveals the artist’s pro-Revolutionary sentiments. 9 November 1795 Brun remarries, to Marie Dunant, a young woman from a family of Genevan notables. Their union will produce seven children. 1797 Brun displays his revolutionary sympathies by aiding his childhood friend Frédéric-César de La Harpe, who is working to liberate the Vaud region from Bernese rule. 28 January 1798 French troops enter Swiss territory. Brun puts the general staff of the French army corps up in his home. 1802 Brun becomes mayor of Versoix. 1804-1805 Brun negotiates the sale of paintings to the Duval brothers in St. Petersburg. 1807 Brun resigns from the post of mayor of Versoix. 1810 Brun attempts to sell some works to the Empress Josephine. He asks his friend de la Rive to intervene on his behalf, but ends up quarrelling with him. 1815 Brun receives Lucien Bonaparte, Napoleon’s brother, at his home in Versoix. Brun goes to Paris as a delegate of the Ain département to attend the Champ de Mai Assembly convened by Napoleon. 8 October 1815 Brun dies of pneumonia in Paris at the age of 57. 1841 Brun’s collection of paintings by other masters is put up for sale by his son.
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3. Accompanying the exhibition 3.1 Families and younger visitors: children’s questions
The education service of the Swiss National Museum – Château de Prangins has developed a tour for young people in association with Gimel-Etoy primary school. It includes direct answers to questions asked by pupils aged 10 and 11 in class in response to the paintings of Louis-Auguste Brun.
Guided tour for teachers (free of charge)
by Helen Bieri Thomson, joint curator of the exhibition Thursday 10 March 2016 from 5.30 p.m. to 6.30 p.m.
Register by 2 March 2016 at [email protected], quoting “visite enseignants”
3.2 “Rose water, eau de Cologne and perfumed gloves”
Moving beyond the sense of sight into the universe of smell in the Age of Enlightenment, a range of historical perfumes recreated specially for the exhibition are presented as part of exclusive guided tours. After the strong scents (amber, musk, civet) characteristic of the Middle Ages and the Renaissance, the start of the 18th century sees a move towards subtler and lighter floral notes such as rose water or violet water for women, and perfumed vinegars for men. The journal of Baron Louis-François Guiguer tells us that the thousands of roses which blossom each summer on the terrace of Château de Prangins are used to extract a rose water that is presumably used for skin care. In Paris, meanwhile, glove-makers, perfumers and distillers set out to create scents that are neither medical nor hygienic but have a highly seductive power. Perfumed gloves, which are worn for outdoor activities, are a good example. Queen Marie-Antoinette, of whom the exhibition presents two equestrian portraits, would put on such gloves before going out hunting.
Scent-based guided tours
THURS 17.03.2016 | 2 P.M.-3 P.M.
THURS 21.04.16 | 2 P.M.-3 P.M.
SUN 22.05.2016 | 2.30 P.M.-3.30 P.M.
Guided tours on request in French, German or English. CHF 180 | max. 25 persons
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3.2 Special day and final exhibition day
SUN 05.06.2016 Special day
10 A.M.-5 P.M. | Admission free
Programme includes:
- Guided tours by Martine Hart, joint curator of the exhibition - Scent-based guided tours by Helen Bieri Thomson, joint curator of the
exhibition, and Marie-Anouch Sarkissian, perfume specialist - Presentation of some of the works by children from Gimel-Etoy primary
school - Family workshops
SUN 10.07.2016 Final exhibition day
10 A.M.-9 P.M. | Admission free
Programme includes:
- Guided tour by Helen Bieri Thomson, joint curator of the exhibition - Screening of the film “Marie-Antoinette” by Sofia Coppola in the courtyard
of the château - Marie-Antoinette-inspired menu at the Café du Château, which remains
open until 9 p.m. (reservation recommended: call +41 (0) 22 363 14 66)
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4. About Château de Prangins
A historic monument of national importance built in the years 1730-40, Château de Prangins opened its doors in 1998 as the home of the Swiss National Museum – a public institution of the Swiss Confederation – in western Switzerland. Open throughout the year, this château and museum offers an extensive programme of exhibitions and events. Thanks to its main permanent exhibition “Noblesse oblige! Life at a Château in the 18th century”, it is recognised as a centre of expertise on the Enlightenment. With its interiors and gardens – including a traditional kitchen garden that is the largest of its kind in Switzerland – it is a major tourist attraction on Lake Geneva and one of the five most visited castles in the country.
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5. Practical information and contacts Swiss National Museum Château de Prangins Av. Général Guiguer 3 CH – 1197 Prangins T. +41 (0) 58 469 38 90 www.chateaudeprangins.ch www.brun.chateaudeprangins.ch Open daily from Tuesday to Sunday. 10.00-17.00
Public holiday opening: Open Easter Monday, Ascension Day, Whit Monday and 1 August.
Documentation and contact for the media
Full media documentation and a selection of photographs are available for download from the “Press” section of the website www.chateaudeprangins.ch.
Helen Bieri Thomson, curator and deputy director Swiss National Museum – Château de Prangins T. +41 (0)58 469 38 92 | [email protected] Antonie Suchet, communication and marketing manager Swiss National Museum – Château de Prangins T. +41 (0)58 469 38 68 | [email protected]
