Paul Victor Mathey- A Hidden Gem of Academic Painting.

The innate artistic sense of the French people has not been without pictorial expression, maintained by a continuous line of artists from the earliest times, and as a nation France was among the earliest collectors. It's caught even preceding any secular power of Italy in acquiring works of art and patronizing artists. French art of the 19th century forms itself into three periods. First, the period of classicism, continuing from Oath of the Hirashi of 1785 to the Massacre of Chios of 1824. Second, that of Romanticism from 1824 until the Free Salon of 1848. And third, the School of the Second Empire and the Third Republic, which may be designated as the period of individuality. French artists were no longer to contend with narrow academic principles fixed by those in authority at the dawn of the 19th century and controlling art progress, but the right of exhibition notwithstanding, various causes combined for a splendid setting forth of art. The spirit of independence fostered by Romanticism, the plein air movement and later naturalism, now able to express itself in very personal ways. Paul Victor Mathy was born in Paris in 1844. His father was a restorer by trade and through this he was able from an early age to grasp and understand, in some form, the preservation of pictures. He began his early training at the Ecole Nationale Supérieure des Beaux-Arts in Paris under the direction of painters such as Léon Cogné, a history and portrait painter remembered for his many notable students, Isidore Pils, known for religious and orientalist subjects, and Alexis-Joseph Mazarol, the romantic painter for the Palais Garnier in Paris and an accomplished instructor. Most of his paintings were historical or mythological in nature. In 1868, after the successful completion of his studies, he went on to exhibit at the Salon. His ability to paint portraits of distinction with a sure hand was recognized immediately. The naturalness of his canvases displays a confidence that would remind one of Edgar Degas, with whom he made a striking drawing and who no doubt was helpful to the young artist at the start of a productive career. Mathy would also portray his colleagues within the studio environment on many occasions. One striking example is the portrait of Georges Clerin in 1868. Clerin accompanied the painter Henri Regnault on a trip through Spain and Morocco, and while in Morocco he met the Spanish painter Mariano Fortuny. Turning to a review of Mathy's portraits, they exhibit a remarkable level of skill and proficiency. His mastery extends to both male and female subjects, and his style reflects the influence of Edgar Degas. His attention to detail is evident in his portrayal of natural body language and gestures. Like Degas, Mathy believed in the significance of memory drawing and its impact on creating convincing artwork. He was also an advocate for the etching process, striving to establish it as an art form in its own right rather than solely for copying famous works. In addition to his expertise in portraiture, Mathy was also accomplished in landscape painting. This form of art presents a unique opportunity to experiment with color and light effects, and he took full advantage of outdoor exercises to hone his skills. A truly well-rounded artist, as seen in the landscapes presented here, there is a lightness of touch, delicate handling, and lively color. His approach to outdoor painting suggests a searching eye, one discovering the scene and careful to render it justly. A painting of a flowing stream is rich in tone and presents a sky that feels right, not overly painted or heavy. Returning to the studio, there is a light-hearted yet industrious canvas of flowers on a table, where there is no hesitation in considering all elements to establish sufficient detail without losing the whole, an important factor in all painting. Mathy's charming asparagus painting recalls the words of Edouard Manet concerning his own approach. When Manet created a group of asparagus, minus one, which was sent to its delighted collector, he spoke of his determination to break with the past and invent something better each time. Each time I paint, I throw myself into the water to learn swimming. Other studio works bring the painter back into the personal realm of studio life, interesting pictures that rely primarily on design, working out essential silhouettes to reveal the subject in a more dramatic way. Color is often subdued, giving way to the power of tone alone. Mathy is gifted in his portrayal of the female figure in portraiture. It is often the case that artists excel more in one than the other. Some painters render exceptional portraits of men but are less suited to female subjects. Mathy, however, presents both with equal ease and naturalness. After a long and productive life, Paul Victor Mathy passed away in 1929. It is hoped that many more of his pictures will come to light in the future, a very exciting talent and one that possessed the elegance and design that characterizes great work. And finally, be sure to check out the artists that will inspire you from our e-book series. Now being offered at a special price, just see the link below and add these important painters to your digital library. And thank you.