03 — ARTWORK
Forest Landscape
- MEDIUM
- Oil on canvas, 39 x 58 cm
- TYPE
- Landscape
PALETTE
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- FILE
- 1255 × 837 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
Forest Landscape 1840-42 Oil on canvasA woven cloth used as a support for painting. The best-quality canvas is made of linen; other materials used are cotton, hemp, and jute. It is now so familiar a material that the word 'canvas' has become almost a synonym for an oil painting, but it was not until around 1500 that it began to rival the wooden panel (which was more expensive and took longer to prepare) as the standard support for movable paintings (the transition came later in Northern Europe than in Italy). Canvas is not suitable for painting on until it has been coated with a ground, which isolates the fabric from the paint; otherwise it will absorb too much paint, only very rough effects will be obtainable, and parts of the fabric may be rotted by the pigments. It must also be made taut on a stretcher or by some other means., 39 x 58 cm The Hermitage, St. Petersburg
Like other members of the Barbizon SchoolA group of naturalist landscape painters who worked in the vicinity of Barbizon, a village on the outskirts of the Forest of Fontainebleu, southeast of Paris, in the 1840s and 1850s. Théodore Rousseau (French, 1812-1867) was the founder of the group. Other members of the group were Jean-Baptist Corot (French, 1796-1875), Narcisse Diaz de la Pena (French, 1807-1876), Constant Troyon (French, 1810-1865), Jules Dupré (French, 1811-1889), Jean-François Millet (French, 1814-1875), and Charles-François Daubigny (French, 1817-1878). Their approach constituted an art movement which eventually led to both Realism and Impressionism. Daubigny was the first of the plein air painters., Dupré began his career as a porcelain painter, working in the factory of his father François Dupré. Gradually becoming more influenced by naturalistic landscape painting, he took lessons from Jean-Michel Diébolt, and began making sojourns to paint natural settings in the provinces. Dupré's work differed from others' in the Barbizon School because he did not strictly associate himself with the area around the Forest of Fontainebleau, instead preferring the village of L'Isle d'Adam north of Paris, and his work tended to be more romantic. Like many of his Barbizon contemporaries, Duprée was influential with the Impressionists.
CITE THIS RECORD — BIBTEX
@online{wga-r76443839510d02,
author = {Krén, Emil and Marx, Daniel},
title = {Forest Landscape by DUPRÉ, Jules},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/dupr-jules-r9d325d4b07b0f2/forest-landscape-r76443839510d02},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.
