Albert Aublet stands as a fascinating figure in the landscape of late 19th and early 20th-century French art. Born in Paris on January 18, 1851, and passing away in 1938, his long career spanned a period of immense artistic change and upheaval. He navigated these currents with considerable skill, producing a diverse body of work that encompassed genre scenes, religious subjects, elegant portraits, captivating nudes, and, perhaps most notably, evocative scenes inspired by his travels in the East. Aublet was an artist who successfully blended academic training with contemporary influences, achieving significant recognition during his lifetime.
His work reflects a meticulous craftsmanship honed through traditional education, yet it also reveals an openness to the changing artistic sensibilities of his time, including the burgeoning interest in light and atmosphere championed by the Impressionists, and the exotic allure of Orientalism that captivated many European artists. Aublet carved a distinct niche for himself, respected in official circles while creating works that appealed to a broader public taste for beauty, narrative, and the exotic. This exploration delves into the life, influences, major works, and lasting legacy of this accomplished Parisian painter.
Early Life and Artistic Formation
Albert Aublet's artistic journey began in the heart of the French art world, Paris. His formal training commenced under the tutelage of Claudius Jacquand, a painter known for his historical and genre scenes, whom Aublet studied with from approximately 1865 to 1870. This initial instruction would have grounded him in the fundamentals of drawing, composition, and narrative painting, aligning with the prevailing academic standards of the time.
Following his studies with Jacquand, Aublet entered the prestigious atelier of Jean-Léon Gérôme at the École des Beaux-Arts. Gérôme was a towering figure in the French art establishment, renowned for his highly polished historical paintings, genre scenes, and influential Orientalist works. Studying under Gérôme provided Aublet with rigorous training in academic technique, emphasizing precise draughtsmanship, detailed rendering, and dramatic composition. Gérôme's own fascination with the Near East undoubtedly played a role in sparking Aublet's later interest in similar subjects.
The environment of the École des Beaux-Arts during this period was steeped in academic tradition, upholding the hierarchy of genres and emphasizing historical and mythological subjects. Artists like William-Adolphe Bouguereau and Alexandre Cabanel were dominant figures, celebrated for their idealized figures and smooth finishes. Aublet's education placed him firmly within this tradition, equipping him with the technical skills necessary to succeed within the official Salon system, the primary venue for artists seeking recognition and patronage.
Debut and Early Recognition at the Salon
Armed with a solid academic foundation, Albert Aublet made his debut at the prestigious Paris Salon in 1873. The Salon was the epicenter of the French art world, and acceptance into its annual exhibition was a crucial step for any aspiring artist. Exhibiting here offered exposure to critics, collectors, and the public, potentially launching a successful career. Aublet's participation marked his official entry into the professional art scene.
His early works quickly garnered positive attention. By 1879, he received an honorable mention at the Salon, a significant acknowledgment of his burgeoning talent. This was followed swiftly by a third-class medal in 1880, further cementing his reputation as a painter of note. These accolades, awarded by the official Salon jury, demonstrated his mastery of accepted artistic conventions and his ability to create works that resonated with contemporary tastes.
During these years, the Salon featured a wide array of styles, from the established academic masters to artists exploring new directions. While the Impressionists, including figures like Claude Monet, Pierre-Auguste Renoir, and Edgar Degas, were often exhibiting independently or facing resistance from the official Salon, their challenges to traditional art were part of the broader artistic dialogue. Aublet, however, successfully navigated the official system, building a solid career through consistent participation and recognition within the Salon framework.
The Allure of the Orient: Travels and Influence
A pivotal moment in Albert Aublet's artistic development occurred in the early 1880s, specifically his journey to the Near East around 1881. He visited Constantinople (modern-day Istanbul) and other parts of the Ottoman Empire, including Ankara. This experience profoundly impacted his artistic vision and thematic choices, aligning him with the popular trend of Orientalism in 19th-century European art.
Orientalism, the depiction of North African and Middle Eastern subjects by Western artists, had been a significant current in French art since the early 19th century, famously explored by artists like Eugène Delacroix and Jean-Auguste-Dominique Ingres (in his odalisques), and later by Aublet's own teacher, Jean-Léon Gérôme, as well as Eugène Fromentin. These regions offered European artists a perceived escape from the industrializing West, providing subjects seen as exotic, sensual, and timeless. Aublet's travels provided him with firsthand material, moving beyond imagined scenes to depictions informed by direct observation.
The sights, sounds, colors, and cultures he encountered during his travels infused his work with new energy and themes. He became particularly known for his depictions of daily life, local costumes, and especially scenes set within bathhouses (hammams), which allowed for the exploration of the female nude within an exotic context acceptable to contemporary audiences. His palette often brightened, reflecting the intense light of the regions he visited.
One of the most significant works to emerge from this period was Femme Turque au Bain (Turkish Woman in the Bath). This painting proved immensely successful, capturing the public imagination with its blend of sensuality, exoticism, and technical skill. Its popularity was such that it reportedly contributed to Aublet being named President of the Society of Tunisian Artists (Salon Tunisien), highlighting his prominence within the sphere of Orientalist art focused on North Africa. He joined the ranks of other successful Orientalist painters like Ludwig Deutsch and Rudolf Ernst, who specialized in detailed, evocative scenes of the East.
Masterpiece in Moonlight: Séléné
While Orientalism became a significant part of his oeuvre, Aublet's artistic interests were broader. In 1880, even before his major Eastern travels fully manifested in his work, he painted one of his most celebrated and enigmatic pictures, Séléné. This work demonstrates a different facet of his artistic personality, leaning towards Symbolism and mythology, while showcasing his mastery of light and atmosphere.
The painting depicts the Greek moon goddess Selene, personified as a luminous, nude female figure drifting ethereally through the night sky. Below her lies a dreamlike landscape bathed in cool moonlight, featuring dramatic, deep purple mountains and icy blue waters. The composition is striking, emphasizing the floating, weightless quality of the goddess against the vast nocturnal expanse. The rendering of the figure combines academic precision in anatomy with a softer, more atmospheric handling of light and shadow.
Séléné is often discussed as a work that bridges different artistic currents. The mythological subject matter and careful drawing connect it to academic tradition. However, the evocative mood, the focus on light effects (particularly the moonlight), and the dreamlike quality align it with Symbolism, an artistic movement gaining traction at the time, explored by artists like Gustave Moreau and Odilon Redon. Some critics also note an Impressionistic sensitivity to light and color in the handling of the landscape and sky, suggesting Aublet was absorbing and adapting contemporary innovations.
The painting was exhibited at the Salon and became one of Aublet's most recognized works. It stands as a testament to his ability to tackle mythological themes with a fresh, poetic sensibility, creating an image that is both classically inspired and uniquely modern in its atmospheric intensity. It highlights his skill in rendering the female form and his sophisticated use of color to evoke mood and mystery.
Diverse Subjects: Portraits and Genre Scenes
Beyond the exoticism of his Orientalist paintings and the mythological dreamscape of Séléné, Albert Aublet was also an accomplished portraitist and painter of genre scenes. His academic training provided him with the necessary skills to capture likenesses accurately while also imbuing his portraits with a sense of character and social context. He painted portraits of notable figures and members of bourgeois society, reflecting the demand for such work during the Belle Époque.
One example sometimes cited is the Portrait des demoiselles de L., showcasing his ability to handle group portraits and depict the fashions and manners of the time. His portraits, like much academic portraiture of the era, aimed not just for physical resemblance but also for an indication of the sitter's status and personality. He demonstrated a sensitivity to capturing individual nuances within the conventions of formal portrait painting.
Aublet also continued to produce genre scenes throughout his career. These often depicted everyday life, sometimes with historical or anecdotal elements, aligning with the tradition of painters like his first teacher, Claudius Jacquand. These works allowed him to showcase his narrative skills and his keen observation of human interaction and environments. Whether set in contemporary France or inspired by his travels, his genre paintings often displayed a careful attention to detail and a strong sense of composition, appealing to audiences who enjoyed relatable or picturesque subjects. This versatility across different genres contributed to his sustained success and reputation.
Artistic Style and Technique
Albert Aublet's style is characterized by its synthesis of various artistic trends prevalent during his career. Fundamentally rooted in the academic tradition inherited from Jacquand and especially Gérôme, his work consistently displays strong draughtsmanship, careful composition, and a high degree of finish, particularly in the rendering of figures and textures. This technical proficiency earned him respect within official art circles and ensured the accessibility of his work to a broad audience.
However, Aublet was not immune to the artistic innovations occurring around him. His handling of light and color often shows an awareness of Impressionism. While not an Impressionist himself in the vein of Monet or Camille Pissarro, who prioritized capturing fleeting moments and the effects of light en plein air with broken brushwork, Aublet incorporated a greater sensitivity to atmospheric effects and nuanced color harmonies than many stricter academicians. This is evident in the luminous quality of Séléné and the vibrant, sun-drenched palettes sometimes employed in his Orientalist scenes.
His engagement with Orientalism added another layer to his style, allowing for the exploration of exotic textures, costumes, and architectural settings, often rendered with meticulous detail reminiscent of Gérôme but sometimes with a softer, more atmospheric touch. Furthermore, the Symbolist undertones in works like Séléné indicate his engagement with themes beyond mere representation, exploring mood, myth, and psychological states, connecting him to contemporaries like Pierre Puvis de Chavannes. The influence of the sharp social observation found in the work of artists like Jean-Louis Forain might also be discerned in some of his genre or portrait works. Aublet's strength lay in his ability to selectively integrate these diverse elements into a coherent and appealing personal style.
Later Career, Teaching, and Legacy
Albert Aublet maintained a successful career well into the 20th century. He continued to exhibit regularly, and his reputation was further solidified by official recognition. In 1889, he received an award at the Exposition Universelle in Paris, a major international event showcasing achievements in arts and industry. The following year, in 1890, his contributions to French art were honored with the prestigious title of Chevalier de la Légion d'honneur (Knight of the Legion of Honour).
Beyond his own painting practice, Aublet played a significant role as an educator. He held the position of Professor at the esteemed École Nationale Supérieure des Beaux-Arts in Paris, the very institution where he had trained. In this capacity, he would have influenced a new generation of artists, passing on the principles of academic training while potentially incorporating insights from his own diverse artistic experiences. While specific famous pupils are not always highlighted in relation to him, his professorship signifies his respected standing within the French art establishment.
His work also resonated beyond the purely visual arts. It has been suggested by scholars that Aublet, or perhaps his specific type of society portraiture and Orientalist scenes, may have served as one of the inspirations for the fictional painter M. Biche in Marcel Proust's monumental novel À la recherche du temps perdu (In Search of Lost Time). This connection, if accurate, points to the cultural visibility Aublet achieved and how his art captured certain aspects of Belle Époque society and aesthetics.
His family life also connected him further within the art world. His son, Louis Aublet, became an architect. Louis married Marie-Germaine Ablett, the daughter of William Ablett, an English painter who worked in France and was known for his portraits and genre scenes, thus creating another link between Aublet's family and the artistic community. Albert Aublet passed away in 1938, leaving behind a substantial body of work reflecting the complex artistic landscape he navigated throughout his long life.
Conclusion: A Versatile Navigator of Artistic Currents
Albert Aublet's career exemplifies the path of a highly skilled and adaptable artist working during a period of profound artistic transition in France. Educated in the rigorous academic tradition under masters like Jacquand and Gérôme, he possessed a technical mastery that earned him consistent recognition through the official Salon system and prestigious awards like the Legion of Honour. His success demonstrates the continued viability and appeal of academic painting even amidst the rise of modernism.
Yet, Aublet was more than just a competent academician. His work reveals a sensitivity to contemporary trends, incorporating elements of Impressionistic light and color, Symbolist mood, and, most significantly, the exotic allure of Orientalism fueled by his own travels. Works like Turkish Woman in the Bath and Séléné showcase his ability to synthesize these influences into compelling images that captured the public imagination and critical acclaim.
As a painter of diverse subjects – from the harems of Constantinople to the moonlit mythological realms, from elegant Parisian portraits to everyday genre scenes – and as an influential professor at the École des Beaux-Arts, Albert Aublet carved out a significant place for himself in the French art world of the late 19th and early 20th centuries. His legacy lies in his versatile and accomplished body of work, which offers a fascinating window into the tastes, techniques, and cross-currents of his era.
