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1852 Lyon - 1930 Paris. Known for: Painting.
After visiting the Louvre in the 1870s, an American traveler noted that "along the galleries are numerous temporary stands, easels, etc., at which artists are constantly at work copying such... Read full biography
After visiting the Louvre in the 1870s, an American traveler noted that "along the galleries are numerous temporary stands, easels, etc., at which artists are constantly at work copying such paintings as they may have orders for, or hope to find purchasers for" (as quoted in Barbara Stern Shapiro,... Read full biography
After visiting the Louvre in the 1870s, an American traveler noted that "along the galleries are numerous temporary stands, easels, etc., at which artists are constantly at work copying such paintings as they may have orders for, or hope to find purchasers for" (as quoted in Barbara Stern Shapiro, Pleasures of Paris: Daumier to Picasso, exh. cat., Museum of Fine Arts, Boston, 1991, p. 108). Stumbling across a working artist and his accoutrements was not a rare occurrence for the museumgoer in... Read full biography
After visiting the Louvre in the 1870s, an American traveler noted that "along the galleries are numerous temporary stands, easels, etc., at which artists are constantly at work copying such paintings as they may have orders for, or hope to find purchasers for" (as quoted in Barbara Stern Shapiro, Pleasures of Paris: Daumier to Picasso, exh. cat., Museum of Fine Arts, Boston, 1991, p. 108). Stumbling across a working artist and his accoutrements was not a rare occurrence for the museumgoer in the nineteenth and early twentieth centuries. Viewing and copying the museum's masterpieces was a traditional part of an artist's education, and a practice Béroud both enjoyed and used as the subject of at least twenty-six of his compositions. Indeed,... Read full biography
After visiting the Louvre in the 1870s, an American traveler noted that "along the galleries are numerous temporary stands, easels, etc., at which artists are constantly at work copying such paintings as they may have orders for, or hope to find purchasers for" (as quoted in Barbara Stern Shapiro, Pleasures of Paris: Daumier to Picasso, exh. cat., Museum of Fine Arts, Boston, 1991, p. 108). Stumbling across a working artist and his accoutrements was not a rare occurrence for the museumgoer in the nineteenth and early twentieth centuries. Viewing and copying the museum's masterpieces was a traditional part of an artist's education, and a practice Béroud both enjoyed and used as the subject of at least twenty-six of his compositions. Indeed, Louis Beroud was such a frequent visitor to the Louvre that he is credited with sounding the alarm upon disco... Read full biography