JEAN

See also:

• LOUIS
• LOUIS (804–876)
• LOUIS (893–911)
• LOUIS, JOSEPH DOMINIQUE, BARON (1755-1837)
• LOUIS, or LEWIS (from the Frankish Chlodowich, Chlodwig, Latinized as Chlodowius, Lodhuwicus, Lodhuvicus, whence-in the Strassburg oath of 842-0. Fr. Lodhuwigs, then Chlovis, Loys and later Louis, whence Span. Luiz and—through the Angevin kings—Hungarian

LOUIS

See also:

• JEAN LOUIS HAMON (1821–1874)

HAMON (1821–1874)  , French painter, was born at Plouha on the 5th of May 1821 . At an early age he was intended for the priesthood, and placed under the care of the brothers Lamennais, but his strong desire to become a painter finally triumphed over family opposition, and in 184o he courageously left Plouha for Paris—his sole resources being a pension of five hundred francs, granted him for one year only by the municipality of his native town . At Paris Hamon received valuable counsels and encouragement from Delaroche and Gleyre, and in 1848 he made his appearance at the Salon with " Le Tombeau du Christ" (Musee de Marseille), and a decorative work, " Dessus de Porte." The works which he exhibited in 1849—" Une Affiche romaine," " L'Egalite au serail," and " Perroquet jasant avec deux jeunes filles "—obtained no marked success . Hamon was therefore content to accept a place in the manufactory of Sevres, but an enamelled casket by his hand having attracted notice at the London International Exhibition of 1851, he received a medal, and, reinspired by success, left his post to try his chances again at the Salon of 1852 . " La Comedie humaine," which he then exhibited, turned the tide of his fortune, and " Ma sceur n'y est pas" (purchased by the emperor) obtained for its author a third-class medal in 1853 . At the Paris International Exhibition of 1855, when Hamon re-exhibited the casket of 1851, together with several vases and pictures of which " L'Amour et son troupeau," " Ce n'est pas moi," and "Une Gardeuse d'enfants" were the chief, he received a medal of the second class, and the ribbon of the legion of honour . In the following year he was absent in the East, but in 1857 he reappeared with " Boutique a quatre sous," " Papillon enchaine," " Cantharide esclave," " Devideuses," &c., in all ten pictures; " L'Amnur en visite " was contributed to the Salon of 1859, and " Vierge de Lesbos," " Tutelle," " La Voliere," "L'Escamoteur" and"La Sceur ainee" were all seen in 1861 . Hamon now spent some time in Italy, chiefly at Capri, whence in 1864 he sent to Paris " L'Aurore" and " Un Jour de fiancailles . The influence of Italy was also evident in" Les Muses a Pompei," his sole contribution to the Salon of 1866, a work which enjoyed: great popularity and was re-exhibited at the International Exhibition of 1867, together with " La Promenade " and six other pictures of previous years . His last work, " Le Triste Rivage," appeared at the Salon of 1873 . It was painted at St Raphael, where Hamon had finally settled in a little house on the shores of the Mediterranean, close by Alphonse Karr's famous garden . In this house he died on the 29th of May 1874 .