François-Edme Ricois (1795-1881) - Vue de Châteaudun - Eure-et-Loir
\Artist: François-Edme Ricois (1795-1881)
Technique: Oil on canvas\Signature: Hand signed\Dimensions: 65_98_0_cm
François-Edme RICOIS (Courtalain, 1795 – Mareil-Marly, 1881) Vue de Châteaudun Oil on canvas Height without frame: 65 cm - Width without frame: 98 cm. Signed and dated 1860 at the bottom in the middle. François-Edme Ricois although born in Courtalain (Eure and Loir) , spent all his childhood in Châteaudun where his parents ran a cotton fabrics business. After basic studies at the elementary school of the city, his family placed him around the age of thirteen in a notarial office. It was not a success: while copying his roles, the young clerk began to illustrate them with flowers, animals and fellows. The notary believes that the drawing on stamped paper was quite expensive and with strong regrets, he returned the young Ricois to his parents. Fortunately, they had long known the Duc de Montmorency, castellan of Courtalain, who took an interest in the young man and directed him to the studio of an artist renowned for his connections, the painter Gros. But the budding artist was more attracted to landscape than to history painting; also on the second of March 1816, he entered the École des Beaux-Arts and became a pupil of Girodet, Charles Bourgeois and especially Jean-Victor Bertin, himself master of Corot, from whom he feeds on the principles of neo-classicism, and applied them throughout his life with intelligent flexibility in his views of the city, port and castle which remain precise and poetic testimonies of the French province in the last century. To the advice of his masters, Ricois added personal outdoor work, crisscrossing the France and even the Switzerland. He debuted at the Salon in 1819 and took part to it throughout his life, his last artwork was in 1880, a few months before his death. He was awarded a second-class medal in 1824. Thanks to this success, he got a reputation and from then on he never ceased to take part in Parisian salons and in various provincial exhibitions, notably in Douai, Lille, Toulouse and Cambrai, where he was again a medal-holder. He would undoubtedly have enjoyed the highest honours of his career, if a cruel mourning, the death of his young wife, Marie Constance Denin, which occurred after four years of cleaning, had not turned his life upside down. When neurasthenic, he settled in Nantes, founded a mixed workshop there, and trained many students for many years. But the demon of his freedom quickly took him back, and from 1834 he devoted himself to the study of the castles of the Loire. Constantly traveling to the four corners of France, the painter left a considerable documentary work whose catalogue would be difficult to establish; locally, he reproduced the main castles of Eure-et-Loir: Châteaudun, Courtalain, Maintenon, Montigny-le-Gannelon, with a predilection for the sites of the south of the department. His technique is diverse: the landscapes are treated with oil, watercolor, wash, and he will also devote himself to fixed on glass, a process in vogue in the nineteenth century. Ricois spent the last part of his life at Mareil-Marly, near Saint-Germain-en-Laye where he had acquired a property. The surroundings of Saint-Germain also provided him with material for a very large number of paintings. But to repeat himself, the artist soon lost his originality and charm. . . At the age of 77, he still won bronze medals at the International Exhibition in London in 1875. This was the last burst of his flame. He lived for a few more years, but his weakened eyesight forced him to give up the last sketches he was still drawing. He had a daughter on 2nd December 1830 named Marie-Octavie Ricois who was herself a painter and drawing teacher. Source: F. Léger. « Artistes dunois (XIXè – XXè siècles) », year 2005, pp 4/5 About Châteaudun Castle: Of a spectacular scale, the construction of the castle of Châteaudun spread over four centuries. From the end of the twelfth century, Theobad V, Count of Blois, built the keep still visible today and last vestige of the medieval castle. Two centuries later, the castle of Châteaudun became the property of Jean d'Orléans, one of Joan d’Arc’s favourite companion. Between 1450 and 1468, he built the Dunois wing, a two-storey building whose layout reflects the need for comfort that followed the Hundred Years' War. He also built a Holy Gothic Chapel adjacent to the keep, designed to preserve the relics of Christ. The construction work was completed in the sixteenth century by the construction of a second wing facing the Loir, wing called "Longueville", named after the builder’s name. The profound originality of the Château de Châteaudun comes from the fact that the Middle Ages gradually disappeared in favour of the Renaissance while perfectly making the two styles coexist.
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\Artist: François-Edme Ricois (1795-1881)
Technique: Oil on canvas\Signature: Hand signed\Dimensions: 65_98_0_cm
François-Edme RICOIS (Courtalain, 1795 – Mareil-Marly, 1881) Vue de Châteaudun Oil on canvas Height without frame: 65 cm - Width without frame: 98 cm. Signed and dated 1860 at the bottom in the middle. François-Edme Ricois although born in Courtalain (Eure and Loir) , spent all his childhood in Châteaudun where his parents ran a cotton fabrics business. After basic studies at the elementary school of the city, his family placed him around the age of thirteen in a notarial office. It was not a success: while copying his roles, the young clerk began to illustrate them with flowers, animals and fellows. The notary believes that the drawing on stamped paper was quite expensive and with strong regrets, he returned the young Ricois to his parents. Fortunately, they had long known the Duc de Montmorency, castellan of Courtalain, who took an interest in the young man and directed him to the studio of an artist renowned for his connections, the painter Gros. But the budding artist was more attracted to landscape than to history painting; also on the second of March 1816, he entered the École des Beaux-Arts and became a pupil of Girodet, Charles Bourgeois and especially Jean-Victor Bertin, himself master of Corot, from whom he feeds on the principles of neo-classicism, and applied them throughout his life with intelligent flexibility in his views of the city, port and castle which remain precise and poetic testimonies of the French province in the last century. To the advice of his masters, Ricois added personal outdoor work, crisscrossing the France and even the Switzerland. He debuted at the Salon in 1819 and took part to it throughout his life, his last artwork was in 1880, a few months before his death. He was awarded a second-class medal in 1824. Thanks to this success, he got a reputation and from then on he never ceased to take part in Parisian salons and in various provincial exhibitions, notably in Douai, Lille, Toulouse and Cambrai, where he was again a medal-holder. He would undoubtedly have enjoyed the highest honours of his career, if a cruel mourning, the death of his young wife, Marie Constance Denin, which occurred after four years of cleaning, had not turned his life upside down. When neurasthenic, he settled in Nantes, founded a mixed workshop there, and trained many students for many years. But the demon of his freedom quickly took him back, and from 1834 he devoted himself to the study of the castles of the Loire. Constantly traveling to the four corners of France, the painter left a considerable documentary work whose catalogue would be difficult to establish; locally, he reproduced the main castles of Eure-et-Loir: Châteaudun, Courtalain, Maintenon, Montigny-le-Gannelon, with a predilection for the sites of the south of the department. His technique is diverse: the landscapes are treated with oil, watercolor, wash, and he will also devote himself to fixed on glass, a process in vogue in the nineteenth century. Ricois spent the last part of his life at Mareil-Marly, near Saint-Germain-en-Laye where he had acquired a property. The surroundings of Saint-Germain also provided him with material for a very large number of paintings. But to repeat himself, the artist soon lost his originality and charm. . . At the age of 77, he still won bronze medals at the International Exhibition in London in 1875. This was the last burst of his flame. He lived for a few more years, but his weakened eyesight forced him to give up the last sketches he was still drawing. He had a daughter on 2nd December 1830 named Marie-Octavie Ricois who was herself a painter and drawing teacher. Source: F. Léger. « Artistes dunois (XIXè – XXè siècles) », year 2005, pp 4/5 About Châteaudun Castle: Of a spectacular scale, the construction of the castle of Châteaudun spread over four centuries. From the end of the twelfth century, Theobad V, Count of Blois, built the keep still visible today and last vestige of the medieval castle. Two centuries later, the castle of Châteaudun became the property of Jean d'Orléans, one of Joan d’Arc’s favourite companion. Between 1450 and 1468, he built the Dunois wing, a two-storey building whose layout reflects the need for comfort that followed the Hundred Years' War. He also built a Holy Gothic Chapel adjacent to the keep, designed to preserve the relics of Christ. The construction work was completed in the sixteenth century by the construction of a second wing facing the Loir, wing called "Longueville", named after the builder’s name. The profound originality of the Château de Châteaudun comes from the fact that the Middle Ages gradually disappeared in favour of the Renaissance while perfectly making the two styles coexist.
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