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Horace Vernet
French Academic Classical painter & printmaker
born 1789 - died 1863
Also known as: Emile-Jean-Horace Vernet

Student of: François-André Vincent (1746-1816).
Teacher of: Pedro Américo de Melo (1843-1905) from 1859 to 1864, Adrien François Théodore Archenault (1825-1880), Joseph Nicolas Hippolyte Aussandon (1836-), Louis-Leon Desjardins, Alexandre Grellet (1835-), Jozef Israëls (1824-1911), Ange Louis Janet (1815-1872), Jean-Charles Langlois (1789-1870), Joseph Nicolas Robert-Fleury (1797-1890) in 1816, Alois Schönn (1826-1897) from 1850 to 1851, Frederick Tayler (1802-1889).

Father of: Anne Elizabeth Louise Delaroche (1814-1845).
Son of: Carle Vernet (1758-1836).
Brother-in-law of: Hippolyte Lecomte (1781-1857).
Father-in-law of: Paul Delaroche (1797-1856).
Godson of: Jean-Michel Moreau, le jeune (1741-1814).
Grandson of: Claude-Joseph Vernet (1714-1789).
Great-grandson of: Antoine Vernet (1689-1753).
Uncle of: Charles-Marie Bouton (1781-1853).


Member of: Vernet family.

Émile-Jean-Horace Vernet, known as Horace Vernet, was son of Antoine-Charles-Horace (known as 'Carle') Vernet and grandson of Claude-Joseph Vernet, one of the leading French landscape painters of his period. Horace Vernet was one of the most prolific of French military painters, specializing in scenes of the Napoleonic era. Horace Vernet remained an ardent Bonapartist, and his chief work was the huge Gallery of Battles at Versailles, painted for Louis Philippe. A portrait of Napoleon and four battlepieces by him are in the National Gallery, London. Horace Vernet also did animal and Oriental subjects. From 1828 to 1835 Horace Vernet was Director of the French Academy in Rome. His sister married the costume-history painter Paul Delaroche.

Of all the military French painters of the 19th century, Horace Vernet was probably the most admired. Lucky from the cradle (he was born near the Louvre Palace) Horace Vernet quickly acquired fame and fortune. Horace Vernet was the last of the "Vernet dynasty": his father, Carle Vernet, painter of horses and battles, was the son of Joseph Vernet, marine painter of the 18th century. As a consequence, all doors were open to him. Horace Vernet was awarded a first class medal at the age of 22, was a Knight of the Legion of Honour at 25, Member of the Institute at 36, and the director of the French Academy in Rome at 38.- France Vernet Horace oil painting nude, nude oil paintings - Vernet Horace France oil painting nude – Vernet Horace Bio and nude oil painting nude by France oil paintings nude art of nude oil paintings and Vernet Horace oil paintings nude.

Even though the Vernets were traditionally royalists, Horace became allied to Napoléon and the Empire. Then, during the Restoration, Horace Vernet was connected with the liberals (which did not stop him obtaining an official commission from Charles X). The 1830 revolution carried his personal friend Louis-Philipe to the throne, a fact which greatly helped Horace in his career. Later, after the events of 1848, Horace Vernet was for a short while a supporter of the Republic, then finding himself named as official painter of the Second Empire. Opportunism? Switching sides? Vernet definitely had an extraordinary talent to adapt himself to different political regimes and to remain in the limelight.
When Vernet was young, Vernet threw himself with full force into the Romantic movement. Horace Vernet painted with energy and exuberance, in hot and vibrant colours, medieval and modern battles, allegories, the frantic antics of wild horses and subjects inspired by authors such as Byron and Victor Hugo (Mazeppa 1825, Giaour 1827). But this painter of war and tragedy, who was so admired by Stendhal in the Salon of 1825, changed his style after his nomination as head of the French Academy in 1828.

Having obtained the king’s permission to leave Rome, in 1833 Vernet made the first of many voyages to Algeria, in the company of the English artist William Wyld.Vernet felt that Africa was the continent of the future, "a gold mine for France", and Horace Vernet acquired a vast area at Ben-Koula. Convinced that the gestures and behaviour of the Arabs had not changed for hundreds of years and that Horace Vernet was watching live representations of Biblical scenes, Vernet set out to paint religious scene paintings after the lives of the nomads Horace Vernet saw. Starting with the Conteur Arabe (‘Arab Storyteller’) executed towards the end of 1833 for the Count of Pembroke, Horace Vernet pushed aside the romantic, violent and supple technique in favour of the precision and fidelity of ethnographic detail with which Horace Vernet imbued his oriental and biblical scene paintings. This practice of dressing biblical personages in modern Arab clothes displeased the public and Horace Vernet had to defend his ideas in front of the Academy with the help of documents collected during his journeys. In 1848 Vernet published an article in the Illustration journal: "The connections which exist between the costumes of the ancient Hebrews and the modern Arabs".
In 1835 Vernet was replaced in Rome by Ingres and Horace Vernet returned to France just after Louis-Phillippe had created a museum of millitary history at Versailles and Horace Vernet was commissioned to decorate the principal galleries. For this Vernet painted episodes from the conquest of Algieria : Le Siège de Constantine, Combat de l’Habrah and the famous Taking of the Smalah d’Abd-el-Kader, with an overall length of 21.9 m (almost 72 ft)!

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