ERNEST HÉBERT GRENOBLE, 1817 - 1908, LA TRONCHE

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  3. ERNEST HÉBERT GRENOBLE, 1817 - 1908, LA TRONCHE
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Lot n° 126
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Estimation :
1000 - 1500 EUR
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Result : 1 950EUR
ERNEST HÉBERT GRENOBLE, 1817 - 1908, LA TRONCHE
Adela, 1859 Charcoal and white chalk highlights on paper Titled, located and dated lower left adela / cervara 9bre 59. Monogrammed lower right H 33,1 x 24,5 cm Adela, 1859 Charcoal heightened with white Titled, located and dated lower left adela / cervara 9bre 59. Monogrammed lower right H 13 x 9 5/8 in. Initially trained as a lawyer at Grenoble in accordance with his father's wishes, Hébert arrived in Paris at the age of 19. There, he entered the studio of the painter Rolland, while at the same time enrolled at the Ecole des Beaux- Arts and in law school. He then became a pupil of Monvoisin and then of David d'Angers (1788 - 1856), but failed to win the Prix de Rome, as he was too closely associated with the sculptor's workshop. The latter then directed him to the studio of the painter Paul Delaroche (1797 - 1856), which he joined, a wise piece of advice since he won the Grand Prix in 1839. Once at the Villa Medici, the young artist quickly turned to Italian models. Thus in his first submission, an Italian lumberjack on the Tiber, he disguised his local model as an ancient shepherd. When he sketched the peasants he met, Hébert really focused on the realism of his figures' features. Against all expectations, Jean-Auguste-Dominique Ingres (1780 - 1867), then director of the Villa Médicis, congratulated him on the beauty of his drawings, bewildering the boarders who were convinced of the master's exclusive attachment to the pure and ideal line. Although he returned to Paris at the end of his stay and triumphed in 1850 with Mal'aria (Paris, Musée d'Orsay), he left for Italy three years later and settled in Cervara, where for four years he lived among the peasants of the village while continuing to send works to the Salon. The critics regularly praised the artist, particularly in 1855 when The Daughters of Alvito (Paris, Musée d'Orsay) was presented, emphasising their hieratic posture under the weight of jars filled with water. In Cervara, Hébert produced a composition similar to this one, exhibited at the 1859 Salon. This time, the critics criticised the redundancy of the style. Our drawing was not included in the painting, but it is an example of the dignity that the painter conferred on his models, poor women, looking at the viewer in a slight overhang. Certainly done on the spot, Hébert did not sign the sheet until his return to Paris.
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