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Léon-Augustin L'hermitte Biography

French Naturalist painter and printmaker
born 1844 - died 1925

Also known as: Léon Augustin Lhermitte, Leon Augustine L'Hermitte.

Knight of: Légion d'Honneur.

In 1866 first Léon Augustin Lhermitte painting, Violets in a Glass, Shells, Screen, was exhibited at the Salon, and he produced his first etching, for his friend Frederic Henriet’s book Payagiste aux champs. In 1869 Léon Augustin Lhermitte artist made his first visit to London, where he met Legros. On his second visit in 1871 Legros recommended him as an illustrator for paintings of Art in the Collections of England Drawn by E. Lie and introduced him to the dealer Durand-Ruel, who agreed to sell several of his drawings. In 1873 Durand-Ruel sent some of Léon Augustin Lhermitte paintings to the Dudley Gallery for the first of the annual Black and White exhibitions and he subsequently became a regular participant.

Lhermitte won a third-class medal in the Salon of 1874 for Léon Augustin Lhermitte painting The Harvest that was bought by the state. In 1879 Degas noted in a sketchbook his intention to invite him to exhibit with the Impressionists, but he never participated in any of their shows. The Tavern, exhibited in the Salon of 1881, initiated the monumental series of Léon Augustin Lhermitte paintings on the life of the agricultural worker that came closest to justifying van Gogh’s admiring appellation “Millet the Second”. The next in the series, Harvesters’ Payday was bought for the state and became the artist’s best-known work. The Harvest, third in the series, was included with ten charcoal drawings in the Exposition Nationale in 1883.

Léon Augustin Lhermitte painter was elected to fill Jacques Henner’s chair in painting at the Institute in 1905. Léon Augustin L'hermitte continued to exhibit in the first decades of the 20th century, when he was generally seen as a relic of a bygone era, although his style later had an influence on Socialist Realism. Increasingly Léon Augustin L'hermitte worked in pastel, his draughtsman’s skill ever in evidence, producing some sensitive portraits and peasant scenes reminiscent of the earlier and more powerful depictions that van Gogh had cited as “an ideal”.

Léon Augustin Lhermitte artist was born on July 31, 1844 in Mont-Saint-Père in the Aisne region of north-eastern France. His earliest experience with the art was copying paintings out of popular illustrated magazines and studying the painting of earlier French painters, such as the Realists. His father, a schoolteacher, encouraged Léon Augustin Lhermitte painting by allowing him to sketch. The young Lhermitte’s talent quickly became apparent to others. His father introduced Léon Augustin Lhermitte drawings to Count Walewski, then minister at the École des Beaux-Arts.

During this early period in his career he executed compositions replete with the most minute details, depicting each diverse activity before the advent of industrialization overtook the village life of France. In 1880 Léon Augustin Lhermitte earned another medal, this time a second class medal, for La Vieille Demeure (The Old Women Remains) and Inauguration de l’Hotel-Dieu de Chateau-Thierry (Inauguration of the Hotel-Dieu of Chateau-Thierry). These charcoal drawings, or “fusains” as they were in French, were “…fully developed compositions…These Léon Augustin Lhermitte paintings, in the subtlety of their handling of light, their preciseness of detail, and their emphasis on observation are among the earliest major ‘black and white’ drawings establishing the medium as suitable for exhibitable work not just for preparatory studies.” (Gabriel P. Weisberg, The Realist Tradition: French Painting and Drawing, 1830-1900, Cleveland: The Cleveland Museum of Art, 1980, pg. 301)

As a regular exhibitor at the Salon, Léon Augustin Lhermitte graphic work had become increasingly sought after, though he had not yet attained the level of success that he desired. He wanted to complete a work that would solidify his success – this would be his 1882 Salon entry entitled La Paye des Moissonneurs (Paying of the Harvesters), an oil painting whose positive reception allowed Léon Augustin Lhermitte artist to gain many lucrative commissions. the painting was eventually purchased by the state and hung in the Luxembourg museum before being transferred to the Hotel de Ville at Chateau-Thierry. It is also the Léon Augustin Lhermitte painting that established he as a member of the Naturalist tradition, because of the rugged accuracy of the presentation and the uncompromising view of rural life.

After this point Lhermitte committed himself more fully to depictions of rustic life, a theme that had been a favorite of the previous generation of artists from both the Barbizon group to the early Realist artists. Gabriel Weisberg in Léon Augustin Lhermitte paintings entitled “Léon Lhermitte: Creativity in Context” from the exhibition catalog Léon Lhermitte 1844-1925 explains that:

Léon Augustin Lhermitte painter, while treating subjects that found a sympathetic audience, quickly fell under the influence of the Impressionist group and began using a light palette and treating atmospheric effects which linked him to this progressive movement and thus more progressive exhibitions such as these.and nbsp; At the same time, Léon Augustin Lhermitte painting was already more readily accepted by the Salon jury and audiences than these other Impressionists since Léon Augustin Lhermitte painting did not challenge their preconceived notions of art. He used progressive stylistic treatments, but relied on imagery in the vein of previous Realists to establish himself as an artist of dual nature, in this ever-changing period of French art.

His pastels were so successful that Léon Augustin Lhermitte artist almost abandoned charcoal drawing.

The art dealer Durand-Ruel, who supported some of the most progressive artists of the period, purchased several of his charcoal drawings and invited him to participate in his upcoming “Black and White” exhibition. he and found great success and also a large British clientele eager to acquire Léon Augustin Lhermitte paintings.

His associations with dealers and his increasing reliance on charcoal and pastel drawings put him in contact with another international dealer, Wallis, who had galleries in Great Britain, Canada, and the United States, thus disseminating his vision of rustic life throughout the Western world. Monique Le Pelley Fontenay explains the public’s intrigue in Léon Augustin Lhermitte paintings.

During his lifetime Lhermitte was very highly regarded in Anglo-Saxon countries where the picturesque and the healthy values celebrated in Léon Augustin Lhermitte painting and pastels were particularly appreciated. Values of work and family appear frequently in his work. Like Jules Breton and Rosa Bonheur, Léon Augustin Lhermitte was appreciated because he represented the “good old days.” …Throughout his life Lhermitte pointedly ignored the Industrial Revolution, fixing instead on the image of society before its disappearance, the vision of a paradise lost for the citizens of big cities, of a time frozen outside the march of history.

In 1900, he took part in both the Exposition Universals, to which he was a member of the jury, and the Exposition des Pastellistes. During the latter part of his career, mainly after 1900, Léon Augustin Lhermitte painter showed his dependence on the precepts of Impressionism and began devote more of his compositional space to the landscape and effects of the atmosphere. Whereas earlier in his career, figures would occupy the majority of the composition, thus focusing attention on them and their activity, later in his career Léon Augustin L'hermitte devoted less space to these figures. Equally important is that these figures began to lose their individual identity. Instead of depicting them with unique features, they instead became subsidiary elements to the overall impression of the landscape. At the same time, however, the artist did began more Léon Augustin Lhermitte paintings on the theme of maternity which concentrated attention on the figures and the family values associated with them.

As Léon Augustin L'hermitte grew older, he stayed closer to his home and executed several landscape pastels based on the banks of the Marne, which was near his studio, and other landscapes near his home. Léon Augustin Lhermitte artist was decorated with several honors from across Europe, such as the Chevalier of the Order of St. Michael in Germany, and Léon Augustin Lhermitte paintings were regularly acquired by the state after their showing. His life and career ended on July 28, 1925 in Paris, after which point his career and work fell into the oblivion until the 1990s when it was reappraised by an exposition at the Musée d’Orsay.
Léon-Augustin Lhermitte balanced his progressive style with an imagery steeped in prior traditions of rural life and landscape painting, themes which he carried through into the twentieth century. To fully gauge his importance for nineteenth century art it is necessary to look to not just Léon Augustin Lhermitte oil paintings copy, but more so to his painting of other media, especially charcoal and pastel drawings in which his abilities were put to fullest use.

Léon Augustin Lhermitte painter: A great French painter and etcher of the late nineteenth century, he was a student of Lecocq de Boisbourdran. He first exhibited at the Paris Salon in 1864 and was quickly acclaimed. Many awards and titles were bestowed upon Lhermitte during his career, such as the French Legion of Honour (1884) and the Grand Prize at the Exposition Universelle in 1889.

Lhermitte's fine etchings have drawn comparison to the art of such diverse masters as Pissarro, Legros, Lalanne and Bastien Lepage. Léon Augustin Lhermitte, however, claimed that his strongest inspiration in the art came from the painting of Millet. Like Millet, Lhermitte was drawn to the life and nobility of the poor, whether in the streets of Paris or in the countryside.

La Boucherie, for example, depicts an interior scene within a modest butcher's shop and clearly shows the power of his etched art. His gift to portray the people and their environment with both sensitivity and dignity made the painter perhaps the greatest French realist artist since Courbet.Today, Léon Augustin Lhermitte etchings and paintings are housed in major public collections around the world, including museums in Boston, Washington, Chicago, Montreal, Brussels, Rheims, Paris, Moscow and Florence.