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弗朗索瓦•杰拉德出生于罗马,1770年Mау4日,j·s·杰拉德和Cleria Mattei。十二岁的杰拉德在巴黎进入养老du获得Roi。养老他传递到工作室的雕刻家奥古斯汀Pajou他离开两年年底的历史画家Nicolas-Guy Brenet,他几乎立即辞职将本身 下雅克大卫.
1789年,他参加的Prix de罗马,这是由他的同志Girodet。在第二年(1790年),他再次提出了本身 ,但他父亲的死亡禁止 完成他的工作,并要求他陪他的妈妈去罗马。1791年,他回到巴黎,但他的贫困是如此之大,他不得不放弃他的研讨 有益 于就业应当 带来直接的利润。大卫马上利用本身 的帮助,和最著名的肖像画大师之1 ,louis michel勒佩尔蒂埃·德·圣Fargeau可能欠杰拉德的手。这幅画在1793年被处决,杰拉德,在大卫的请求,被任命为革命法庭的1 员,他从致命的决定,然而,总是没有参战。
1794年,他在竞赛中获得1 等奖,8月第十,的主题的风暴的杜伊勒里宫宫。进1 步刺激了他的对手和朋友Girodet的成功沙龙1793年和1794年,杰拉德(豪爽地帮助下让-巴蒂斯特·伊莎贝微雕艺术家,1795年他著名的Belisaire生产。1796年的画像他慷慨的朋友(守恒的今天罗浮宫)毫无争议的获得成功,钱收到伊莎贝这两个作品使杰拉德履行 1797年,他的心灵et l(插图)。最初 ,在1799年,他的画像夫人仅仅建立职务的第1 天的肖像画家。
1808年多达8,1808年不少于14,肖像,在沙龙展出,这些数据只承受的巨大的数字,他每年履行 ;所有帝国的领袖人物和波旁王朝复辟,欧洲最著名的男人和女人,坐在杰拉德。这类 非凡的时尚魅力的部分缘由 是他的态度和谈话,他的沙龙是尽可能多的经常光顾他的工作室;德夫人Stael,乔治•坎宁,塔列朗,威灵顿公爵都见证他的吸引力的社会。富人和名人,杰拉德是受到野心放弃了早些时候懊悔;不时他确实努力Girodet和其他竞争对手,为了证明本身 的实力历史画更有声望的流派,仍然比肖像画;他借d 'Austerlitz发明(1810)显示宽度和款式 更加有目共睹 的L开始d 'Henri IV巴黎(在凡尔赛宫),1817年,他的工作并向返回的路易十八。这个日期杰拉德拒绝后,看与有力 的悲伤的进展浪漫的学校.
满载荣誉——1809年帝国的男爵,研讨 所的成员,1812年3月7日,官的军团肯,第1 个画家王——他,悲伤和沮丧;1830年革命添加到他的不安,1837年1月11日,经过三天的发热、他就死了。
杰拉德最好记得他的画像,他的画的色彩 了,但是他的图纸显示在受伤美味的纯度;和那些处女的女人是特别了不起的简单性和坦率的表达。他的先生 中海因里希Christoph科尔伯.
François Gérard was born in Rome, on 4 Mау 1770, to J. S. Gérard and Cleria Matteï At the age of twelve Gérard obtained admission into the Pension du Roi in Paris. From the Pension he passed to the studio of the sculptor Augustin Pajou which he left at the end of two years for that of the history painter Nicolas-Guy Brenet,whom he quit almost immediately to place himself under Jacques-Louis David.
In 1789 he competed for the Prix de Rome, which was carried off by his comradeGirodet. In the following year (1790) he again presented himself, but the death of his father prevented the completion of his work, and obliged him to accompany his mother to Rome. In 1791 he returned to Paris; but his poverty was so great that he was forced to forgo his studies in favor of employment which should bring in immediate profit. David at once availed himself of his help, and one of that master's most celebrated portraits, of Louis-Michel Le Pelletier de St Fargeau may owe much to the hand of Gérard. This painting was executed early in 1793, the year in which Gérard, at the request of David, was named a member of the revolutionary tribunal, from the fatal decisions of which he, however, invariably absented himself.
Family tomb in Montparnasse Cemetery
In 1794 he obtained the first prize in a competition, the subject of which was The Tenth of August, that is, the storming of the Tuileries Palace. Further stimulated by the successes of his rival and friend Girodet in the Salons of 1793 and 1794, Gérard (nobly aided by Jean-Baptiste Isabey, the miniaturist, produced in 1795 his famous Bélisaire. In 1796 a portrait of his generous friend (conserved today in the Louvre) obtained undisputed success, and the money received from Isabey for these two works enabled Gérard to execute in 1797 his Psyche et l'Amour (illustration). At last, in 1799, his portrait of Madame Mère established his position as one of the first portrait-painters of the day.
In 1808 as many as eight, and in 1810 no less than fourteen, portraits by him, were exhibited at the Salon, and these figures afford only an indication of the enormous numbers which he executed yearly; all the leading figures of the Empire and of the Bourbon Restoration, all the most celebrated men and women of Europe, sat to Gérard. This extraordinary vogue was due partly to the charm of his manner and conversation, for his salon was as much frequented as his studio; Madame de Staël, George Canning, Talleyrand, the Duke of Wellington, have all borne witness to the attraction of his society. Rich and famous, Gérard was stung by remorse for earlier ambitions abandoned; at intervals he had indeed striven with Girodet and other rivals, to prove his strength at history painting, still a more prestigious genre than portraiture; his Bataille d'Austerlitz (1810) showed a breadth of invention and style which are even more conspicuous in L'Entrée d'Henri IV à Paris (at Versailles), the work with which in 1817 he did homage to the returned Louis XVIII. After this date Gérard declined, watching with impotent grief the progress of the Romantic school.
Loaded with honors – baron of the Empire in 1809, member of the Institut on 7 March 1812, officer of the légion d'honneur, first painter to the king – he worked on, sad and discouraged; the revolution of 1830 added to his disquiet; and on 11 January 1837, after three days of fever, he died.
Gérard is best remembered for his portraits; the color of his paintings has suffered, but his drawings show in uninjured delicacy the purity of his line; and those of women are specially remarkable for a virginal simplicity and frankness of expression. His students included Heinrich Christoph Kolbe.
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