20 Works, June 26th. is Pierre-Jules Jollivet's day, his story, illustrated with footnotes #173

Pierre Jules Jollivet, 1794-1871

The Creation of Eve

Painting on lava

Malesherbes city, IX ardt.

I have no further description, at this time

According to the second chapter of Genesis, Eve was created by God (Yahweh) by taking her from the rib of Adam, to be Adam's companion.

Pierre-Jules Jollivet (26 June 1794, Paris – 7 September 1871, Paris) was a French painter and lithographer who worked mostly in the Romantic style and is largely known for genre scenes.

Pierre Jules Jollivet, 1794-1871

The original sin

Painting on lava

Malesherbes city, IX ardt.

I have no further description, at this time

Christians have traditionally taken the story told in Genesis 3, in which Adam and Eve disobey God by eating the fruit of the forbidden tree and are consequently expelled from Eden, as telling of the origin of all human sin, but it is not named as sin in Genesis and many contemporary scholars have cast doubt on this traditional understanding of the origins of humans and of sin. The original sin

He initially studied architecture. It was only in 1822 that he decided to focus on painting instead. That year, he entered the École des Beaux-arts de Paris and remained there until 1825. His primary instructors were François-Louis Dejuinne and Antoine-Jean Gros; both painters of historical and genre scenes.

Pierre Jules Jollivet, 1794-1871

The Artist's Studio

37.1 x 46.3 cms | 14 1/2 x 18 ins

Oil on panel

Private collection

Pierre Jules Jollivet, 1794-1871

Ladies In A Pompeian Interior, c. 1866

Oil on panel

32.6 x 41 cms | 12 3/4 x 16 ins

I have no further description, at this time

At the same time, he became interested in lithography, a new printing method devised in the 1790s by the actor, Alois Senefelder. In 1826, this interest took him to Spain to work on a catalog of the paintings belonging to King Ferdinand VII at the Royal Palace of Madrid. He eventually contributed eighteen plates for that publication. he remained there for a short time after completing his work before returning to Paris.

Jollivet, Pierre-Jules 

Godefroy de Bouillon holds the first meetings of the kingdom of Jerusalem, January 1100, c. 1838-1839

Oil on canvas

H. 70; L. 79 cm.

National Museum of the Palaces of Versailles and Trianon

Godfrey of Bouillon was a Frankish nobleman and one of the pre-eminent leaders of the First Crusade. He was the first ruler of the Kingdom of Jerusalem from 1099 to 1100.

Jollivet, Pierre-Jules 

Louis le Gros takes the banner at Saint-Denis, 1124, c. 

Oil on canvas

H. 64.5; L. 106 cm

National Museum of the Palaces of Versailles and Trianon

The Oriflamme was the sacred gold and red banner of St. Denis, patron saint of France, borne by the kings of France in battle. It was first taken to battle by King Louis le Gros in 1124. It is depicted in Medieval manuscript images variously as without decoration, or bearing the gold words "S. Denys", or a golden sun. Displayed in battle, it meant that no quarter was to be given, no mercy shown. It was carried alongside the blue and gold fleur de lys Banner of France. It was a great honor to be chosen the Bearer of the Oriflamme, and the Bearer swore an oath to guard the Oriflamme with his life. More on the banner at Saint-Denis

Pierre-Jules Jollivet  (1794–1871)

Capture of Foix castle, 1272, c. 1837

Oil on canvas

Height: 387 cm (12.6 ft); Width: 273 cm (107.4 in)

Museum of the History of France / Palace of Versailles 

The Château de Foix (Languedocien: Castèl de Fois) is a castle which dominates the town of Foix in the French département of Ariège. 

Built In the style of 7th-century fortification, the castle is known from 987. In 1002, it was mentioned in the will of Roger I, Count of Carcassonne, who bequeathed the fortress to his youngest child, Bernard. In effect, the family ruling over the region were installed here which allowed them to control access to the upper Ariège valley and to keep surveillance from this strategic point over the lower land, protected behind impregnable walls.

The castle resisted repeated sieges (1212–17) by the Norman crusader Simon de Montfort but was taken by King Philip the Bold of France (See below) in 1272. More on Capture of Foix castle

Pierre-Jules Jollivet  (1794–1871)

Philippe III, the Bold, King of France (1245-1285), c. 1837

Oil on canvas

H. 65; L. 56 cm

Museum of the History of France / Palace of Versailles 

Pierre-Jules Jollivet  (1794–1871)

Capture of Foix castle, 1272, c. 1837

Oil on canvas

 H. 68; L. 140 cm

Museum of the History of France / Palace of Versailles 

In order to reconquer the lost papal lands, Julius II organized an anti-Venetian alliance, the League of Cambrai (1508). All the great powers of Italy, along with those across the Alps—the Holy Roman Empire, France, and Spain—joined forces to defeat the Venetians at Agnadello (May 14, 1509). But dissension among the victorious allies, who were manipulated by skillful Venetian diplomacy, turned the alliance against France, because that kingdom now seemed to be the greatest power in Italy. A Holy League, organized in 1511 to curtail French power in Lombardy, restored the Medici in Florence in 1512 with the help of Spanish arms and allowed Venice to keep its old terra ferma (mainland) empire. Nonetheless, Agnadello profoundly shook Venetian self-confidence and remained the turning point in the republic’s imperial ambitions in mainland Italy. More on Battle of Agnadello

Pierre-Jules Jollivet  (1794–1871)

Combat of Hooglede, June 13, 1794, c.  1835-1836

Oil on canvas

H. 247; L. 162.5 cm.

National Museum of the Palaces of Versailles and Trianon

The Combat of Hooglede takes place during the Peasants' War of of 1798; a counter-revolutionary insurrection of peasants from Flanders , the Liège region and Luxembourg against the French Republic .

In 1794 , the French victory at the Battle of Fleurus provokes the invasion and annexation to the French Republic of the Austrian Netherlands which become the nine departments united . The insurgency breaks out in October 1798, by rejecting anti-Catholic laws and conscription established by the Republicans. It ends in December when the gatherings are crushed by the French during various decisive battles in Bornem , Diest , Mol and Hasselt. More on Combat of Hooglede

He established himself as a painter of genre and historical scenes and drew on his experiences in Spain for inspiration. After acquiring a small amount of notoriety, he began to exhibit his works in 1831. His initial presentation consisted entirely of Spanish-themed works; some in homage to Diego Velázquez. In 1833, he was awarded a prize at the Salon for his "Brigands of the Kingdom of Valencia".

Jollivet, Jules (Paris, 1794 - Paris, 1871)

Guerrilla, c. 1834

Oil on canvas

Height: 0.74 m; Width: 0.922 m

Musée du Louvre

Group of men armed with rifles in a lighted cave including one leaning against a donkey. Silhouttes stand between the rocks. More on this painting

Pierre-Jules Jollivet  (1794–1871)

Gypsies Resting in the Mountains of Ronda, c. 1832

Oil on canvas

Height: 46 cm (18.1 in); Width: 38.1 cm (15 in)

Musée Rolin

The Mountains of Ronda abounds with tales of gypsies, bandits and smugglers set in a landscape of cork oak forest, hidden mountain trails and open pastures. In fact, the role of the bandit is so entrenched in local culture that Ronda even has a Museo de Bandolero, the only one of its kind, the museum details the folklore and psychology of the bandits and highwaymen who once frequented the landscape. More on Mountains of Ronda

Pierre-Jules Jollivet

Couple of Gypsies playing dice, c. 1830

Watercolor

30 x 22 cm

Private collection

Jollivet, Jules (Paris, 1794 - Paris, 1871)

Lara, c. 1834

Oil on canvas

Height: 1.31 m: 1.57 m; Width: 1.145 m

Musée du Louvre

Lara, A Tale was first published anonymously by Lord Byron in 1814. This tragic narrative poem is seen as a continuation of another poem of Byron's, The Corsair. It details Count Lara's return home after spending a few years travelling abroad. With a page as his only company, Lara's story continues as he encounters problems with his fellow men. First, this leads to a duel that Count Lara ends up winning and as the story progresses, he must also fight both friends and foes. Count Lara is successful in his battle against all odds, until one night he encounters a large group and attempts to fight them. Unfortunately, he is mortally wounded in the process and dies at the end of the poem. More on Lara

A privateer standing with his fist on a table covered with a velvet carpet bordered with a book and a skull. Page Kaled in dark doublet and red stockings beside him is Gulnare the woman in love with him. More on this painting

Back in France, according to Ossorio, with a large collection of studies and sketches of our costumes and customs, he painted genre paintings set in romantic Spain such as the Gypsy Parade in the mountains of Ronda at the Rolin de Autun museum, and A Guerrilla (See above) of the Museum of the Louvre, presented at the Salon of 1834.

Pierre-Jules JOLLIVET (1794-1871)

Peasants in the countryside

Oil on canvas

Soissons museum

Pierre-Jules JOLLIVET (1794-1871)

Resting place

Oil on canvas

65 x 80 cm. 

Private collection

For many years, works on Spanish subjects would predominate in his oeuvre. In the latter part of the 1830s, King Louis-Philippe I placed him in charge of creating a series of large historical panels for the Musée de l’Histoire de France. Two of the best known depict the Battle of Hooglede (1794) and Godefroy de Bouillon presenting the first assizes for the Kingdom of Jerusalem. He also did an etching, showing the Battle of Tourcoing.

JOLLIVET: Paris, 1794; Paris, 1871

The Massacre of the Innocents, c. 1844

Oil on canvas

Height in cm: 326; Width in cms: 421

Rouen ; Museum of Fine Arts

The Massacre of the Innocents is the incident in the nativity narrative of the Gospel of Matthew in which Herod the Great, king of Judea, orders the execution of all male children two years old and under in the vicinity of Bethlehem. The Catholic Church regards them as the first Christian martyrs. A majority of Herod biographers, and "probably a majority of biblical scholars," hold the event to be myth, legend or folklore. The Massacre of the Innocents

Drawing for a study of a grieving woman and her dead child on the far right of the painting

Pierre Jules JOLLIVET (Paris 1794 - 1871)

The crowning with thorns, c. 1839

Oil on canvas

40 x 32 cm

Private collection

One of the soldiers is about to place the sorrowful crown on Christ's head, and another presents him with the fragile scepter which becomes a reason for laughing by the multitude. This situation allowed the painter to give, without inconvenience, to the figure of Christ, an expression of calm and serenity which suits the resignation and the dignity of his character. More on this painting

This painting is probably a completed sketch of the painting presented by the artist at the Salon of 1840, currently not located.

Pierre-Jules Jollivet  (1794–1871)

The Entombment, c. 1840

Oil on canvas

Height: 81.1 cm (31.9 in); Width: 53 cm (20.8 in)

Musée des Beaux-Arts de la ville de Paris

The burial of Jesus refers to the burial of the body of Jesus after crucifixion, described in the New Testament. According to the canonical gospel accounts, he was placed in a tomb by a man named Joseph of Arimathea. In art, it is often called the Entombment of Christ. More on The Entombment

Jollivet, Pierre-Jules (Paris, 26–06–1794 - Paris, 09–1871), painter

Saint Peter healing a lame man at the temple door, c. 1843

Sketch for the old Saint-Ambroise church

Oil on canvas

Petit Palais, Museum of Fine Arts of the City of Paris

He painted some religious works as well, such as a "Massacre of the Innocents" (See above), and participated in the decoration of several Parisian churches; including Saint-Ambroise, Saint-Antoine-des-Quinze-Vingts and Saint-Vincent-de-Paul. For the latter, he used an innovative ceramic painting technique; applied to large slabs of lava from Volvic. In 1844, he returned to Saint-Vincent-de-Paul to create a tableau representing the Trinity. Other paintings were added later. One, depicting Adam and Eve in Paradise, contained nudity and created a scandal. It was removed in 1861, placed out of sight, and not restored to its original position until 2011. More on Pierre-Jules Jollivet

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