1. Elatia Harris

    So happy you’re back! I wonder if you know the painting of Jean-Marie Janmot, a lyonnais whom I first saw at the Musee des beaux-arts there. Intensely religious academic painting. I say it crosses the Camp barrier — but what do you say?

    • 2/22/2009

      Thank you. I’ve felt extremely guilty for having been gone so long. It’s wonderful to know I didn’t lose you.
      I’m embarrased to say that I have never been to the Musée des Beaux-Arts of Lyon! Looking online I found this by L. Janmot (there seems to be some confusion on the museum’s website about L. and J.M Janmot. Is it possible they are the same person?):http://www.latribunedelart.com/Nouvelles_breves/Breves_2007/7_07/Janmot_Christ.JPG. Is that the piece you are thinking of? If not, please let me know if you can find an image.

      If it is the same piece, my off-hand reaction is that it is a strange painting. It is a nineteenth-century artists painting n an archaic style. Christ’s figure looks more appropriate for a late-fifteenth-century icon. Also, all the action is in the first few feet of the painting. That is typical for fifteenth and early sixteenth-century works, when artists hadn’t mastered perspective and depth. It’s strange to see someone doing that in the nineteenth-century. I wonder if it is a deliberate throwback.

  2. Elatia Harris

    I missed you badly! You are on my homepage.

    Yes, there is a Janmot problem with different prenoms. Here’s the wikimedia page link of the curious painter I mean, quite a celebrity in Lyon.


    These works look almost like moralizing illustrations rather than easel paintings, but the Poeme de l’ame is a large cycle of big paintings. I wish I knew if he were painting in an archaic style — consciously. When that happens, it seems to me the painting still bears the marks of its era. Sassoferrato purposely painted in a Renaissance idiom, but you would know him to be working in the Baroque era from the almost enameled surfaces of his paintings.

  3. Jesse

    Wow, this is why this site is so wonderful, I’d never heard of M. Janmot before tonight. I wonder how much another Lyon boy, Puvis de Chavannes was influenced by him? A lot of pictorial affinity it seems to me.

  4. 5/26/2009

    I have come back to Tissot, expecting a weakening of his art once he moved to religious themes. But in the selection you chose, his painterly skills were just as powerful as they were in London.

    Many thanks for the link to my post on Tissot,
    Art and Architecture, mainly

  5. […] cultural expression throughout the centuries (see, for instance, Tissot’s set of paintings on “The Prodigal Son in Modern Life”). In recent decades, films like Legends of the Fall (1994) have drawn at least partial inspiration […]

Comments are closed, but trackbacks and pingbacks are open.