École des Beaux-Arts

 

 

Meta-Impressionism

École des Beaux-Arts

 

Introduction:
Attending the École des Beaux-Arts in Paris was the head-start for the career as an artist. Some of the partakers of the ‘impressionist’ expositions did attend the École, others only attended an art-workshop which was a preparation for the École, some didn’t do both.
On this page you will find general info on the École des Beaux-Arts, it’s relation to L’Institut and the admission. Info on the lessons, copying at the Louvre, concours (including the Prix de Rome) and the leading figures.

The École was part of the Institut:
The École des Beaux-Arts (the school of Fine Arts) started in 1648 as the Académie Royale de peinture et de sculpture (Royal Academy of Painting and Sculpture) or short the Académie des Beaux-Arts (R88II,p387;R5,p20;iR3). Around 1862 it was called the École Impériale et Spéciale des Beaux-Arts (R31,p295). Since 1863 emperor Napoleon III granted the school independence from the government, then it got the name École des Beaux-Arts (iR3). Since 1968 it is called École Nationale Supérieure des Beaux-Arts (iR3).
Around 1816 it became part of the Institut de France, which consists of 5 academies, including the Académie des Beaux-Arts (R3,p670). The Académie des Beaux-Arts consisted of the Académie de peinture et de sculpture, the Académie de musique (since 1669) and the Académie d’architecture (since 1671) (iR3). The Académie des Beaux-Arts provided education of free artists, that no longer were attached to guilds (R3,p660).
Some sources mention the École was founded in 1796 (R3,p660), others in 1816 (iR5). Other sources mention the Institut de France was founded in 1795 (iR5). The Institut de France is located in the building with the Dome (iR3), compare the picture of Renoir.
Since 1863/11/13, by imperial decree, the Académie (the Institut de France) lost control of the École des Beaux-Arts and the Académie de France in Rome. The government now appointed the employee’s.  (R59,p183;R60,p97;R5,p26;R3,p660). Still, the teachers from the École were mostly members of the Académie (R3,p660). Already in 1830 the Académie had lost privileges, but received them again in 1853 (R59,p182).
The École as part of the Institute de France was since 1816 situated in a a complex of buildings at the 14, Rue Bonaparte in Paris (iR3). The central building is called the Palais des Études in which Paul Delaroche made a mural of 27 meters (iR3).
Throughout the years the École des Beaux-Arts had various names: l’Académie royale de peinture et de sculpture (1648-1793; iR4); Académie des Beaux-Arts (1816); École Nationale et Spéciale des Beaux-Arts (1870-1903); and nowadays École Nationale Supérieure des Beaux-Arts (iR4).

 

Admission to the École des Beaux-Arts:
To become a pupil at the École des Beaux-Arts one had to pass an exam (R3,p660), a ‘morceau de réception’ (iR3). So mostly pupils studied before at a related art-workshop or studio. The following partakers of the ‘impressionist’ expositions were admitted (or rejected) (in a chronological order):

  • Auguste Ottin started his studies at the École des Beaux-Arts in 1825 (aR3;iR3).
  • 1828 onwards Cals joined the École and studied with Léon Cogniet (R3;R88;R9;R16;iR24;iR65;iR3;iR1;R87;R9;R177,p61).
  • 1839: Tillot arrived in Paris; study at the école des Beaux-Arts (R3;R9;iR3;aR4)
  • Desboutin entered in 1845 the École (iR70). Brandon entered the École 1849/04/05 (iR3;R88;aR7;iR69;iR65;R9;R3;R16;R87).
  • Degas was registered 1855/04 (he was one of the 80 candidates) and joined the atelier of Lamothe (R88II,p1001;R5,p20).
  • In 1855 Legros started (or ended) his studies at the École des Beaux-Arts in Paris (R85;R3;iR65).
  • One source mentions that Pissarro was registered in the autumn of 1855, when he had just arrived in Paris (R88II,p1001; another source mentions it was the wish of his father to enrol at the École des Beaux-Arts, but as a compromise Camille followed private classes at Picot, Dagnan and Lehmann, starting early 1856, before enrolling Académie Suisse in 1857 (R116I,p106-108).
  • Cézanne was rejected two times (iR3).
  • Redon was rejected in 1862 (R88II,p1009); in 1863 (or 1864) he was a pupil of Gérôme.
  • Renoir was admitted 1862/04/01 at the École (R31,p179). Before that and afterwards he attended Atelier Gleyre (R31,p294).
  • In 1864 Lepic entered the École des Beaux-Arts (R87).
  • 1867-68 Forain studied at the École in the atelier of Jean-Léon Gérôme (1824-1905) (R43,p13;R89;R88;aR4).
  • Some sources state that around 1868 Jean-François Raffaëlli was a pupil of Gérôme and followed courses at the École des Beaux-Arts (R3;R88;iR1;R1,p73); other sources state this was in 1871 and just for 3 months (aR7,p24;iR15;iR22). At the Salon of 1870 he was not called a pupil of Gérôme, in 1873 he was (iR1).
  • In 1873 Caillbotte was a student at the École des Beaux-Arts, which he soon left (R41,p56;iR3;R3;R19).
  • Seurat passed his admitting exam 1878/02/02 and was registered 1878/03/19; he left the École again in the course of 1879 (R207,p19).
  • Sisley also was admitted (iR3). Since 1863/11/13 pupils had to be French and between 15 and 25 years (R59,p183;R60,p97; R5,p26;R3,p660). So, if Sisley (and Pissarro) were admitted, was this because they did so before 1863?
  • In 1873 Franc Lamy officially entered the École des Beaux-Arts (iR5;iR4).
  • Seurat passed his admitting exam 1878/02/02 and was registered 1878/03/19 at the École des Beaux-Arts; he left again in the course of 1879 (R207,p19;R40;R162).
  • Women were admitted since 1897 (iR3).

 

The lessons at the École des Beaux-Arts:
(In the 19th century) the lessons at the École des Beaux-Art were based on strict imperatives, based on the Greek and Rome classics and the Italien Renaissance, also called Néo-Classicism or Academism. The pupils first had to draw after etchings, later after plasters (of classic sculptures) and than after life models. First they had to draw parts of a body and only later the whole body. They also had to draw antique objects, such as vases, sandals, drapery, chairs and Greek columns. The pupils followed cources in anatomy, drapery, perspective, art-history. But also in general courses like mathematics, archeology, geology, physics, chemistry, construction.
Only after a pupil mastered the drawing, they were teached to paint with oil (in the 3rd year). And again they first had to do studies after making a composite painting.
Sources: iR23;iR3;R3,p660;R22I,p26;aR1;aR2;R258=iR40;

There was a hierarchy in genres; the primacy of drawing; systhematic study of drapes, nudes, etc.; the use of smooth, non-visible brushstrokes. (R88II,p197). 12 professors (7 painters and 5 sculpters) would teach on a monthly base in a strict classical way. The emphasis lay on religious, biblical, historical, mythological subjects or a theme from literature. The art-works had to depict moral lessons and / or patriotic grandeur. It was important to render the smallest details and to use a proper perspective. Since 1863/11/13 the Ecole began to appreciate originality (R59,p183;R60,p97;R5,p26;R3,p660).
The École also collected art-works and historical books (iR3).

 

Ateliers:
In 1870 there were 3 ateliers (or workshops) for painting connected with the École des Beaux-Arts (R258,p275).

Copying old master at the Louvre:
Part of the study was copying old masters (at the Louvre). One had to receive a permission for this. Renoir received one in 1860+61+62+63+64 (R31,p294;R5,p18). There he copied works of Rubens, Fragonard and Boucher (1703-70) (R30,p9). Morisot copied in the Louvre in 1860 (R88II,p1007/8). Degas did so for 30 years starting in 1854 (R5,p18;R88II,p1007/8). Pissarro frequently visited the Louvre studying the old masters (R116I,p113). One also could study a large collection of etchings (iR3;R31,p294;R5,p18).

 

Concours and exams at the École:
During the study there were several concours / exams held. Renoir did 1862/04/18 an exam for perspective drawing, depicting ‘four steps of a Classical temple, of the shaft of a Doric Column and of an oblique inclined stone block’ (R31,p295). 1862/08/16 Renoir did a composition exam, depicting ‘Joseph sold by his brothers’ (R31,p295). 1863/03/21 Renoir did a figure drawing examination (R31,p295). 1863/08/14 he again did a composition exam, depicting ‘Ulysses in the palace of Alcinous’ (R31,p295). 1863/10/07 Renoir did a winter semester examination (R31,p295). The winnars received prices and medals. Mythological, historical or religious themes often had to be depicted in these concours. (R3,p660). The most important concours was the Prix du Rome.

Académie de France in Rome:
The winners of the (Grand) Prix de Rome received a bourse to study for 4 years at the Académie de France* in Rome. They were aged between 15 and 25. They won the Prix de Rome for the section painting (annual), sculpture (annual), architecture (annual), ‘gravure en taille-douce’ (biennial), ‘gravure en médailles et en pierres fines’ (triennial). The first two years the winners had to stay at the Villa des Medicis. After that they were free to make travel journeys. The works they made in Rome were exhibited every year at the École des Beaux-Arts, Quai Malaquais in Paris.
Note*: in 1870 this was named the École Impérial de Rome.
Sources: Annuaire 1870=R258,p273=iR40;

 

The directors of the Académie de France in Rome:
The following artists were directors of the Académie de France in Rome in the 19th century. They had much influence on the fine arts of French artists. They were all Academic painters and member of L’Institut.
Ingres: 1835-41.
Schnetz: 1841-46/47.
Alaux, 1847-52.
Schnetz: 1853-1866.
Robert-Fleury: 1866-67.
Hébert, 1867-72.
Lenepveu, 1873-78.
Cabat, 1878/79 – 1884/85.
Hébert, 1885-90.

 

Leading figures:
Comte de Nieuwerkerke was member of the Institut since 1853. Since 1851 he also was director of the national musea and since 1863 he is appointed Superintendent of Fine Arts and thus regulates the admission to the Salon (R88II,p387+388).
Directors:
Jean-Baptiste Claude Eugène Guillaume (1822-1905), member of L’Institut, a sculptor, was director of the École des Beaux-Arts from 1864 till 1878. He then became director-general of Fine Arts till 1879, when the position was abolished (iR3).
Paul Dubois (1829-1905) followed him up in 1878 as director of the École; he was mainly a sculptor and also a teacher at the Atelier Julian (iR3R88II,p400).
Note: Monneret mentions that Chennevières was director of Beaux-Arts from 1873/12 (R88II,p395).
Secretaries:
In 1870: Albert Lenoir, (free) member of L’Institut,
Other positions were: Inspector; curator of models and art objects; librarian.
High Council for Education:
President: vacant in 1870
Vice-President: 1870 Arago (director des Beaux-Arts)
Members of the Council:
In 1870 there were 12 members, 9 were member of L’Institut, including the following painters: Couder and Robert-Fleury.
Professors:
Here below you will find the names of some of the professors at the École des Beaux-Arts. Many of them were member* of L’Institut (between 1855-1900), for more info see Academic painters. For the others see meta-impressionists.
In 1870 the following painters were professors at the École: Cabanel*, Gérôme*, Pils*, Yvon.
Albert Aublet (1851-1938) at one time was professor, see meta-impressionists.
Blanc (Joseph Paul) (1846-1904) was professor since 1889, see meta-impressionists.
Bonnat*, Léon (1833-1922): Before 1882 he had a private art workshop together with Puvis de Chavannes. Since 1882 professor at the École des Beaux-Arts; from 1888 till 1905 he was chef d’atelier de peinture; became director in 1905 till 1922. From 1900-22 he was director of the National Musea.
Boulanger*, Gustave(-Rodolphe) (1824-88): Professor at the École des Beaux-Arts (1885-88) and at the Academie Julian.
Cabanel* (Alexandre) (1823-89): From 1864 till 1889 he was professor at the École des Beaux-Arts.
Cogniet* (Léon) (1794-1880): He was a professor at the École des Beaux-Arts from 1851-63
Cormon*, Fernand (1845-1924): Professor at the École des Beaux-Arts. Run a studio called Atelier Cormon since late 1883.
Delaroche*, Paul (1797-1856): Proffesor at the École des Beaux-Arts from 1832/33 till 1843.
Delaunay*, Jules-Élie (1828-91): Became chef d’atelier at the École des Beaux-Arts.
Sources: Annuaire 1870 (R258,p274=iR40)
Doucet (Henri-Lucien) (1856-1895): Since 1888 teacher at the Academie Julian.
Ferrier (Gabriel) (1847-1914): Teacher at the École des Beaux-Arts and the Académie Julian (1896-1905).
Flameng (François) (1856-1923): Professor at the École des Beaux-Arts since 1905.
Flandrin*, Hippolyte (1809-64): Professor at least in 1863.
Gérôme* (Jean-Léon) (1824-1904): He also teached at the École des Beaux-Arts starting in 1864 and would do so for 40 years. In 1867 he was appointed as one of the 3 professors.
Humbert, Ferdinand (1842-1934): He was a professor at the École National des Beaux-Arts from 1898 till 1902. Since 1898 he had his own art-studio; he had many (famous) pupils. From 1905-1929 he was chef of the painting studio for women.
Ingres*, Jean-Auguste-Dominique (1780-1867): In 1829 professor at the École National des Beaux-Arts. From 1835 till 1841 he was director of the French Academy in Rome. In 1853 he became president of the École. In 1863 he still was professor at the École.
Laurens* (Jean-Paul) (1838-1921): Teacher at the Académie Julian. Professor at the École des Beaux-Arts.
Lefebvre* (Jules-Joseph) (1836-1912): was professor at the Académie Julian since 1870.
Lehmann*, (Charles-Ernest-Rodolphe-)Henri (1814-82): 1875 appointed as professor at the Ecole till 1881.
Moreau*, Gustave (1826-98): Since 1892 he had been professor at the École des Beaux-Arts.
Morot*, Aimé-Nicolas (1850-1913): In the 1880s he was a professor at the Académie Julian and in 1898 he took over the studio of Gustave Moreau. In 1900 he became professor at the École des Beaux-Arts.
Pils* (Isidore) (1813-1875): In 1863 he was for a short time professor at the École des Beaux-Arts.
Robert-Fleury* (Joseph-Nicolas) (1797-1890): In 1855 he was appointed professor at the École des Beaux-Arts, in 1863 director. In 1864 (or 1865) he started teaching at the French Academy in Rome, where he was director for 6 months (1866/67).
Robert-Fleury* (Tony) (1837-1911): Professor at the Academie Julian.
Schnetz*, Jean-Victor (1787-1870): Since 1837 director of the École des Beaux-Arts. Director of the French Academie in Rome from 1841-1846/7 and from 1853-1856 (or 1866).
Signol* (Émile) (1804-92): He was a professor at the École des Beaux-Arts in (at least) 1863.
Members of the jury:
Members of the jury for namely the Prix de Rome for the painting section in 1870 were: Baudry, Bezard, Biennoury, Bonnat, Bouguereau, Cabanel, Cabat, Delaunay, Dubufe, Michel Dumas, Giacometti, Gérôme, Eug. Giraud, Giroux, A. Hesse, Jalabert, Larivière, Laugée, Lehmann, Lenepveu, Maillot, Muller, Petit-Savinier, Pils, Schenetz, Signol, Timbal, Vauchelet, (R258,p)
Note*: all the artists were member of L’Institut. See Academic painters.

Other art schools:
A career of an artist mostly started with following drawing lessons at a local art school. Some later on attended a regional school of fine arts (in a larger city).
In the future I will render some examples.

 

 

Sources:
My main sources are The Annuaire of 1870 (Gazette des Beaux-Arts=R258=iR40), Walther (2013=R3), Denvir (R5), Raeburn (1985=R31), Wildenstein (1996=R22I), Adams (1994=R59), Monneret (1978-81=R88), Pissarro & Durand-Ruel (2005=R116I), the Exposition Universelles catalogues (R231), the Salon database (iR1), WikiPedia (iR3-5), Joconde (iR23). See the link for other general References (=Rx) and to the internet references (=iRx). See links for practical hints and abbreviations and for the subscription of the paintings.

Additional sources (=aRx):

  1. WikiPedia//École des Beaux-Arts (page on WikiPedia = iR3)
  2. jssgallery.org//École des Beaux-Arts (page on jss gallery =iR359)
  3. x

 

 

Recommanded citation: “Meta-Impressionism: École des Beaux-Arts. Last modified 2025/12/01. https://www.impressionism.nl/ecole-des-beaux-arts/”

Note: additional info will be added.