See also:born at
See also:Dort on the loth of
See also:February 1745 . After the early
See also:death of his
See also:father, a poor painter, Ary was taken to
See also:Paris and placed in the studio of Guerin by his
See also:mother, a woman of
See also:great energy and character . The moment at which
See also:left Guerin coincided with the commencement of the Romantic
See also:movement . He had little sympathy with the directions given to it by either of its most conspicuous representatives,
See also:Sigalon, Delacroix or Gericault, and made various tentative efforts—" Gaston de
See also:Foix " (1824), " Suliot
See also:Women " (1827)—before he found his own path . Immediately after the
See also:exhibition of the last-named
See also:work he turned to
See also:Byron and Goethe, selecting from
See also:Faust a long series of subjects which had an extraordinary vogue . Of these, we may mention "
See also:Margaret at her
See also:Wheel "; " Faust Doubting "; " Margaret at the Sabbat "; " Margaret Leaving
See also:Church "; the "
See also:Garden Walk "; and lastly, perhaps the most popular of all, " Margaret at the Well." The two"
See also:Mignons " appeared in 1836; and " Francesca da
See also:Rimini," which is on the whole Scheffer's best work, belongs to the same
See also:period . He now turned to religious subjects: " Christus Consolator " (1836) was followed by " Christus Remunerator," " The Shepherds Led by the
See also:Star " (1837), " The Magi Laying Down their Crowns," " Christ in the Garden of Olives," " Christ bearing his
See also:Cross," " Christ Interred " (1845), " St Augustine and'Monica " (1846), after which he ceased to exhibit, but, shut up in his studio, continued to produce much which was first seen by the
See also:world after his death, which took place at
See also:Argenteuil on the 15th of
See also:June 1858 . At the
See also:posthumous exhibition of his
See also:works there figured the " Sorrows of the
See also:Earth," and the "
See also:Angel Announcing the Resurrection," which he had left unfinished . Amongst his numerous portraits those of La Fayette,
See also:Beranger, Lamartine and
See also:Marie Amelie were the most noteworthy . His reputation, much shaken by this posthumous exhibition, was further undermined by the sale of the Paturle Gallery, which contained many of his most celebrated achievements; the charm and facility of their composition could not save them from the condemnation provoked by their poor and earthy
See also:colour and vapid sentiment . Scheffer, who married the widow of General Baudrand, was only made
See also:commander of the
See also:Legion of
See also:Honour in 1848—that is, after he had wholly withdrawn from the
See also:Salon . His
See also:Henri, born at the
See also:Hague on the 27th of
See also:September 1798, was also a fertile painter .
See also:notice (1861) prefixed to
See also:Bingham's publication of works of A . Scheffer; Etex, Ary Scheffer; Mrs
See also:Life of A . Scheffer (i86o) .
JOSEPH VIKTOR VON SCHEFFEL (1826–1886)
JEAN DE SCHELANDRE (c. 1585-1635)
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