A Unique Slant of Light: The Bicentennial History of Art in Louisiana - (Page 23)

Collas, who had plied his trade in Russia, Paris, Philadelphia, and Charleston before coming to New Orleans. Collas was prolific but his work paled in comparison to other and more accomplished French artists who would follow. “Though competent and reflective of substantial portrait trends,” argued Pennington, “the work of Collas cannot be said to have had the significant artistic impact that was achieved by the next round of French painters, Jean Joseph Vaudechamp and Jacques Amans.” These French artists, who found varying success at home, prospered in Louisiana, especially in the region’s French community. The best known and most productive of these was Jean Joseph Vaudechamp who trained under the renowned Parisian artist and teacher Anne-Louis Girodet. Before coming to New Orleans in 1831, his paintings often hung in the Paris saloons between 1817 and 1848. The Belgium-born, Paris-educated Jacques Guillaume Lucien Amans, who came to New Orleans in 1836 and married a Louisiana woman, was another of these young French artists to gain considerable success painting portraits. Like Vaudechamp, Amans wintered in New Orleans but returned to Paris for its less hostile summers. Their success encouraged other European artists, such as the Alsatian painter Adolph HIPPOLYTE SÉBRON (b. 1801, Caduebec-en-Caux, France – d. 1879, Paris, France) Steamboats on the Mississippi at New Orleans, 1858 Watercolor; 7 x 10 in. The Historic New Orleans Collection Rinck and the Bavarian-born artist François Fleischbein, who also found great opportunities in New Orleans and surrounding plantations. Rinck, wrote Pennington, “was a student of both the emerging floridity of the French Academic salon and the far more pronounced dramatic character focus of the German school.” By the late 1850s, Fleischbein had abandoned painting for the emerging and popular new medium of portrait photography that would eclipse portrait painting except for the very wealthy. During the 1840s, the fabled George David Coulon also emerged on the local portrait circuit. He would later rank among postCivil War Louisiana’s most important artists. With the state’s pre-war prosperity came a new generation of American artists who were often better trained than many of those who had preceded them. The most important of these new arrivals were Irish-born Trevor Thomas Fowler and G.P.A. COLONIAL THROUGH ANTEBELLUM LOUISIANA 23  http://www.knowla.org/entry.php?rec=1158 http://www.knowla.org/entry.php?rec=1158 http://www.knowla.org/entry.php?rec=1154 http://www.knowla.org/entry.php?rec=1155 http://www.knowla.org/entry.php?rec=587 http://www.knowla.org/entry.php?rec=533 http://www.knowla.org/entry.php?rec=589 http://www.knowla.org/entry.php?rec=588 http://www.knowla.org/entry.php?rec=1155

Table of Contents for the Digital Edition of A Unique Slant of Light: The Bicentennial History of Art in Louisiana

A Unique Slant of Light: The Bicentennial History of Art in Louisiana

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