The son of a magistrate, Fleury François Richard studied at the collège de l'Oratoire in Lyon then at the école de Dessin under Alexis Grognard. At the latter he met Pierre Révoil. In 1796 he joined the Paris studio of Jacques-Louis David. His first paintings had major success and he mingled with the Paris intelligentsia, among whom the Troubador style was highly favoured. He became the favourite painter of empress Joséphine de Beauharnais, who bought many of his paintings, so that the European renown gained by his first works was recognised by Madame de Staël.
In 1808 he set up his own studio at the Palais Saint-Pierre at Lyon, having been granted it by the city for the benefits he had brought to it by his reputation. He was initiated into the Scottish Rite Masonic Lodge of Isis in 1809, and in 1814 married a banker's daughter, Blanche Menut. He was made a knight of the Légion d'honneur in 1815.
Seeking inspiration, he visited Geneva, Milan, Turin and the Dauphiné. He served as a professor at the École des beaux-arts de Lyon from 1818 to 1823. In 1851 he set himself up at Écully, devoting himself to writing. He edited his Souvenirs, lives of painters and a work on painting in the second-order towns of France, Quelques réflexions sur l'enseignement de la peinture dans les villes de second ordre.
Fleury-Richard received his first lessons in Lyon, a silk-producing town, but he was mainly formed by his time in the neoclassical atmosphere of David's studio. Like other English and German artists of the era Fleury-Richard was passionate about history and fascinated by medieval chivalry and the Renaissance. His visit to the Musée des monuments français, where he saw the tomb of Valentina Visconti on display, inspired his first major work in a utopian and melancholic Troubadour style, which also originated in David's studio. This style would impose a powerful historicist current on the masters of the 14th and 15th centuries, a more anecdotal that truly historical iconography. François-René Martin presents this tendency as "a retreat into the private sphere.[1] Richard was notably amazed by the works attributed to the king-poet "bon Roi René" and most particularly by his art history treatise Le Cuer d’amours espris.
On his return to Lyon, he cultivated his friendship with Pierre Révoil and, with Révoil and a small inner-circle, discovered nature and the archaeological remains around Lyon, in Fourvière, Saint-Just or the Île Barbe. It was in this context that Révoil, in 1798, showed both nature and remains in a drawing he offered to his "brother". To the Troubadour painters' historicism he blended "a poetry of nature" and "researches into distance or loneliness".[2] Also the abandoned crypt of Saint Irénée at Saint-Just was used by Fleury-Richard in his studies for A Knight at Prayer in a Chapel, Preparing Himself for Combat; the construction used in Young Woman at a Fountain was a Roman sarcophagus at Île-Barbe; also at Île-Barbe, associated to the cloister of Notre-Dame-de-l'Isle at Vienne in The Hermitage of Vaucouleurs.
When some scholars at the start of the 20th century sought to connect him to the école lyonnaise despite his training in Paris, his national career and his painting – the historical genre was not specific to Lyon.[3]
In Fleury-Richard's critical writings scholars find a reflection prefiguring his attachment to Symbolism before it existed: "Painting is not an imitation of reality. It is a symbol, a figurative language which presents the image of thought; and thought rises to the source of infinite beauty, there finding the archetypical forms signalled by Plato, of which created beings are only copies.[4]"
(in French)Fleury Richard et Pierre Révoil : la peinture troubadour, Marie-Claude Chaudonneret, Arthéna, Paris (1980) 217 pp. [1]
(in French)Le Temps de la peinture, Lyon 1800–1914, sous la direction de Sylvie Ramond, Gérard Bruyère et Léna Widerkher, Fage éditions, Lyon (2007) 335 pp. ISBN978-2-84975-101-5
Notesedit
^"To the exasperation of public thematic works and heroic virtue, of which Davidian painting was the highest expression, they had been succeeded – at least among the inhabitants of Lyon – by the cult of sentiment, the desire to approach the private life of historical people" – (in French) François-René Martin, Historicisme et utopie à Lyon au XIXe siècle, in Le Temps de la peinture, op. cit., p. 152.
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(in French) Notices on base Joconde
January 01, 1970
fleury, françois, richard, february, 1777, lyon, march, 1852, Écully, sometimes, called, fleury, richard, french, painter, lyon, school, student, jacques, louis, david, fleury, richard, friend, pierre, révoil, were, precursors, troubadour, style, fleury, richa. Fleury Francois Richard 25 February 1777 Lyon 14 March 1852 Ecully sometimes called Fleury Richard was a French painter of the Lyon School A student of Jacques Louis David Fleury Richard and his friend Pierre Revoil were precursors of the Troubadour style Fleury Francois RichardFleury Richard self portrait in youth BornFleury Francois Richard 1777 02 25 25 February 1777Lyon FranceDied14 March 1852 1852 03 14 aged 75 Ecully FranceKnown forPaintingMovementRomanticism Troubadour style Portrait of Fleury Francois Richard by Jean Marie Jacomin in 1852 Contents 1 Life 2 Critique 3 Works 3 1 Gallery 4 Bibliography 5 Notes 6 Sources 7 External linksLife editThe son of a magistrate Fleury Francois Richard studied at the college de l Oratoire in Lyon then at the ecole de Dessin under Alexis Grognard At the latter he met Pierre Revoil In 1796 he joined the Paris studio of Jacques Louis David His first paintings had major success and he mingled with the Paris intelligentsia among whom the Troubador style was highly favoured He became the favourite painter of empress Josephine de Beauharnais who bought many of his paintings so that the European renown gained by his first works was recognised by Madame de Stael In 1808 he set up his own studio at the Palais Saint Pierre at Lyon having been granted it by the city for the benefits he had brought to it by his reputation He was initiated into the Scottish Rite Masonic Lodge of Isis in 1809 and in 1814 married a banker s daughter Blanche Menut He was made a knight of the Legion d honneur in 1815 Seeking inspiration he visited Geneva Milan Turin and the Dauphine He served as a professor at the Ecole des beaux arts de Lyon from 1818 to 1823 In 1851 he set himself up at Ecully devoting himself to writing He edited his Souvenirs lives of painters and a work on painting in the second order towns of France Quelques reflexions sur l enseignement de la peinture dans les villes de second ordre Critique edit nbsp Young Woman at a Fountain Musee des Beaux Arts de Lyon Fleury Richard received his first lessons in Lyon a silk producing town but he was mainly formed by his time in the neoclassical atmosphere of David s studio Like other English and German artists of the era Fleury Richard was passionate about history and fascinated by medieval chivalry and the Renaissance His visit to the Musee des monuments francais where he saw the tomb of Valentina Visconti on display inspired his first major work in a utopian and melancholic Troubadour style which also originated in David s studio This style would impose a powerful historicist current on the masters of the 14th and 15th centuries a more anecdotal that truly historical iconography Francois Rene Martin presents this tendency as a retreat into the private sphere 1 Richard was notably amazed by the works attributed to the king poet bon Roi Rene and most particularly by his art history treatise Le Cuer d amours espris On his return to Lyon he cultivated his friendship with Pierre Revoil and with Revoil and a small inner circle discovered nature and the archaeological remains around Lyon in Fourviere Saint Just or the Ile Barbe It was in this context that Revoil in 1798 showed both nature and remains in a drawing he offered to his brother To the Troubadour painters historicism he blended a poetry of nature and researches into distance or loneliness 2 Also the abandoned crypt of Saint Irenee at Saint Just was used by Fleury Richard in his studies for A Knight at Prayer in a Chapel Preparing Himself for Combat the construction used in Young Woman at a Fountain was a Roman sarcophagus at Ile Barbe also at Ile Barbe associated to the cloister of Notre Dame de l Isle at Vienne in The Hermitage of Vaucouleurs When some scholars at the start of the 20th century sought to connect him to the ecole lyonnaise despite his training in Paris his national career and his painting the historical genre was not specific to Lyon 3 In Fleury Richard s critical writings scholars find a reflection prefiguring his attachment to Symbolism before it existed Painting is not an imitation of reality It is a symbol a figurative language which presents the image of thought and thought rises to the source of infinite beauty there finding the archetypical forms signalled by Plato of which created beings are only copies 4 Works edit nbsp Valentine of Milan weeping for the death of her husband Louis of Orleans c 1802 Hermitage Museum Saint Petersburg Valentine of Milan weeping for the death of her husband Louis of Orleans c 1802 Hermitage Museum Saint Petersburg Charles VII writing his farewell to Agnes Sorel 1804 musee national des chateaux de Malmaison et de Bois Preau Rueil Malmaison A Knight at Prayer in a Chapel Preparing Himself for Combat 1805 musee des beaux arts de Lyon The death of saint Paul the hermit 1810 musee Gassendi Digne Tannegui du Chastel saving the Dauphin 1819 musee national du chateau de Fontainebleau The Hermitage of Vaucouleurs 1819 musee du Louvre Paris Little Red Riding Hood c 1820 musee du Louvre Paris Montaigne Visiting Torquato Tasso in Prison 1821 Lyon Vert Vert 1821 Lyon The death of the prince de Talmont c 1822 musee de Brou Bourg en Bresse The Charterhouse of St Bruno 1822 musee de Grenoble Young Woman at a Fountain 1824 Lyon Comminges and Adelaide in the Trappist Monastery 1844 Lyon Interior of a convent Couvent des Cordeliers de l Observance Lyon Scene in a ruined chapel Lyon Entrance to a convent Lyon Jacques de Molay grandmaster of the Templars Rueil Malmaison Madame Elisabeth in her garden of Montreuil musee national du chateau et des Trianons Versailles Gallery edit nbsp Comminges and Adelaide in the Trappist Monastery 1844 nbsp Interior of a convent Couvent des Cordeliers de l Observance Lyon nbsp Scene in a Ruined Chapel 1824 LyonBibliography edit in French Fleury Richard et Pierre Revoil la peinture troubadour Marie Claude Chaudonneret Arthena Paris 1980 217 pp 1 in French Le Temps de la peinture Lyon 1800 1914 sous la direction de Sylvie Ramond Gerard Bruyere et Lena Widerkher Fage editions Lyon 2007 335 pp ISBN 978 2 84975 101 5Notes edit To the exasperation of public thematic works and heroic virtue of which Davidian painting was the highest expression they had been succeeded at least among the inhabitants of Lyon by the cult of sentiment the desire to approach the private life of historical people in French Francois Rene Martin Historicisme et utopie a Lyon au XIXe siecle in Le Temps de la peinture op cit p 152 in French Francois Rene Martin ibidem Alphonse Germain cited by Pierre Vaisse Le Temps de la peinture op cit p 21 Quoted by Stephen Bann Le Temps de la peinture op cit p 57 Sources editLe Temps de la peinture Lyon 1800 1914 op cit pp 305 306 6 et ss Base Joconde Archived 11 February 2011 at the Wayback Machine Musee des beaux arts de LyonExternal links edit nbsp Wikimedia Commons has media related to Fleury Francois Richard in French Notices on base Joconde 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