Lambron des Piltières studied under the academic and orientalist painter Charles Gleyre in Paris. Here he met Claude Monet, who would remain his friend. Monet portrayed our painter in his Déjeuner sur l’herbe” (the luncheon on the grass) in 1866.
Our hilarious painting represents a so –called “Incroyable”, an aristocrat from the French Directory period, known for dressing and speaking in an eccentric, decadent way.
About Albert Anatole Lambron des Piltières
1838 St-Calais (Sarthe, 45 km E. of Le Mans) – 1930 ?
Our painter passed away at the age of 92.
He is also known as Albert Anatole Martin Ernest Lambron des Piltières.
Genre scene and occasionally animal painter.
He studied under the Neo-Classical painter Hippolyte Flandrin (1809 – 1864) and under the academic and orientalist painter Charles Gleyre (1806 – 1874) at the Ecole des Beaux-Arts in Paris.
Son of Martin Ernest Lambron des Piltières (1808 – 1838) and of Jeanny Emille Renault (born in 1814). Members of his family lived in the castle of Créans, W. of St-Calais. The castle was sold in 1892.
Our painter made his debut at the Salon in 1859.
About “les Incroyables”
“Les Incroyables et les Merveilleuses”, in English “the Incredibles and the Marvelous Women” were a decadent group of silly dressed and silly speaking French eccentric, comically extravagant aristocrats during and just after the French Directory (Directoire,1795-1799), which came after the bloody Reign of Terror under Robespierre.
About his friend, Claude Monet
Lambron des Piltières must have been a good friend of the famous Impressionist painter Claude Monet. Both painters had studied together under Gleyre. Two years after Edouard Manet’s chocking masterpiece of a luncheon on the grass (1863), with two fully dressed men, a naked woman and a scantily dressed one, Claude Monet (then aged 24) wanted to make his life-size version of “Le déjeuner sur l’herbe”. He chose our painter as a model for one of the seven men accompanying the five women, at last in the 1866 study (130 X 181 cm, now in the Pushkin Museum in Moscow) that he made for the final composition. For that final composition, which measured 4,65 by over six metres Monet replaced the thin sitting figure of Lambron des Piltières, left of the centre in the Moscow version, by the colossal patriarch of the French modern artists, Gustave Courbet. Today only two fragments of that huge composition have survived. Monet had given his masterpiece in 1878 as a security to his landlord of his house in Argenteuil, but only got it back in 1884 in very bad condition, so he decided to cut it up. Two fragments, including one with Courbet, have survived, they are in Paris at the Musée d’Orsay, a third fragment has disappeared.
Why should you buy this painting?
Because it is a charming, hilarious example of the eccentric art of this very rare painter.