Circle of Carle Vernet (Bordeaux, 1758-Paris, 1836), Horses

Circle of Carle Vernet (Bordeaux, 1758-Paris, 1836)

Cavalli

Oil on canvas, 31 x 40 cm

With frame, 48 x 58 cm

The refined oil paintings on canvas we are about to analyze are from the circle of the French painter and engraver Carle Vernet, drawing inspiration from two lithographs bearing the French artist's signature. A pupil of his father, Joseph Vernet, and Nicolas-Bernard Lépicié, he in turn taught his son, the more famous Horace Vernet. Carle excelled in hunting scenes, in the depiction of small artisans in the streets of Paris, and in popular scenes. But above all, he was a passionate horseman, of whom he had a profound knowledge. In his Triumph of Paul Émile, he broke with tradition by painting horses as they are in nature, rather than as they were usually depicted. In 1782, he won the Prix de Rome. He left for Rome, but his father later recalled him to France to prevent him from entering a convent. During the Revolution, Vernet took an ambiguously conservative stance. Enlisted in the National Guard, he was wounded on August 10, 1792, but it was rumoured that he was fighting to defend the Tuileries Palace, not to attack it. During the Revolution, he lost his sister Emélie, sentenced to death by guillotine for being politically compromised. Despite appealing for help to his friend Jacques-Louis David, he was unable to save his sister, and so he stopped painting for several years. He later resumed his artistic activity, but now he only painted war scenes, particularly those related to Napoleon's campaigns. His works were admired by Napoleon himself, of whom he even painted a portrait on horseback, who praised his Morning at Austerlitz during his visit to the Salon of 1808. The Cross of the Legion of Honor awarded to him by the emperor was a reflection of his admiration for Vernet both as an artist and as a man, as he had previously accompanied Napoleon at the Battle of Marengo, receiving praise from Empress Josephine herself. Despite his close ties to the deposed emperor, he also received awards and recognition from Louis XVIII for his extensive artistic achievements. Ultimately, our paintings fully represent the French painter's taste during his most artistically vibrant and productive period, always attentive to the naturalistic rendering of the animals' physicality, a stylistic element he passed down to his son Horace and, subsequently, to Théodore Géricault. This similarity is also evident from a technical perspective: the concentration on the lines and their contours is typical of an expert draughtsman, followed by the application of oil paints. The painter must have fully followed Vernet's methods and technique, creating a drawing that pays attention to the anatomical and naturalistic details of the animal, as well as the surrounding environment, while simultaneously imparting a vibrant and dynamic tone through the application of colors.

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