Alphonse Legros stands as a significant, if sometimes overlooked, figure in nineteenth-century art, a versatile talent who bridged the artistic currents of France and Britain. Born in Dijon, France, on May 8, 1837, and passing away in Watford, England, on December 8, 1911, Legros carved out a distinguished career as a painter, etcher, sculptor, medallist, and influential art educator. His life and work are characterized by a steadfast commitment to realism, a profound respect for the Old Masters, and a pivotal role in the revival of etching in Britain. Though he became a naturalized British citizen in 1881, his artistic sensibilities remained deeply rooted in his French training and early experiences.
Early Life and Artistic Awakening in France
Alphonse Legros's formative years were spent in the Burgundy region of France. His father was an accountant from Dijon, and his mother hailed from the nearby village of Véronnes. These rural connections were profound; young Alphonse often visited his relatives' farms, and the agricultural life, the dignity of peasant labor, and the somber landscapes of the French countryside would become recurring and powerful themes throughout his artistic oeuvre. This early immersion in rural existence provided him with a rich wellspring of subjects that he would later depict with an unsentimental yet deeply empathetic eye.
The call to art came early. By the age of eleven, Legros had already demonstrated a clear aptitude for drawing. His formal artistic training began in Dijon, where he was apprenticed to a house painter and decorator named Maître Nicolardo. This practical, craft-based initiation into the arts, while perhaps not glamorous, likely instilled in him a respect for materials and technique that would serve him well. However, his ambitions soon outgrew provincial Dijon.
Parisian Training and the Influence of Lecoq de Boisbaudran
In 1851, at the age of fourteen, Legros made the pivotal move to Paris, the undisputed artistic capital of Europe. His initial employment in the city was with Charles-Antoine Cambon, a prominent theatrical scene painter. Working under Cambon, Legros assisted in decorating the Paris Opéra and other theatres, gaining valuable experience in large-scale decorative work and the practical application of artistic skills. This period also saw him taking drawing classes at the "Petite École," the forerunner of the École Nationale Supérieure des Arts Décoratifs.
A more profound influence on his development came when he enrolled in the drawing school of Horace Lecoq de Boisbaudran. Lecoq was an unconventional but highly effective teacher who emphasized memory drawing – training students to observe intensely and then reproduce what they had seen from memory. This method aimed to cultivate a deep internal understanding of form and structure, rather than mere surface imitation. Legros excelled under this tutelage, and Lecoq's principles left an indelible mark on his artistic practice, particularly his strong draughtsmanship. It was at Lecoq's school that Legros formed lasting friendships with fellow students who would also achieve artistic renown, notably the sculptor Jules Dalou and, for a time, Auguste Rodin. He also briefly attended the evening classes at the prestigious École des Beaux-Arts in 1855, further broadening his academic grounding.
Early Career and Salon Successes
Legros began to exhibit his work publicly in the mid-1850s. His first submission to the Paris Salon, in 1857, was a portrait of his father. This marked his official entry into the competitive Parisian art world. However, it was his 1859 Salon entry, L'Angélus, that truly announced his arrival. The painting, depicting peasants pausing from their field labor for evening prayer, was a powerful example of the realist current then gaining traction, championed by artists like Gustave Courbet and Jean-François Millet. While some critics found its realism stark, others, including the influential poet and critic Charles Baudelaire, recognized its sincerity and strength. Baudelaire became an early and important supporter of Legros.
Another significant work from this early period was Ex Voto (1861), a poignant depiction of women praying in a church, notable for its somber palette and profound sense of devotion. These early paintings established Legros's reputation as an artist of serious purpose, drawn to themes of peasant life, religious piety, and the human condition, rendered with a gravity that eschewed sentimentality. His style was characterized by strong drawing, a subdued but rich color sense, and a focus on essential forms. He was clearly influenced by the Spanish masters like Ribera and Zurbarán, as well as the French realists.
During this period, Legros became associated with a circle of artists that included Henri Fantin-Latour and the American expatriate James McNeill Whistler. Together with Whistler and Fantin-Latour, Legros was part of the "Société des Trois" (Society of Three), a loose association reflecting their shared artistic sympathies and a desire to explore new avenues beyond strict academicism, though their individual styles remained distinct. Fantin-Latour famously included Legros in his group portrait Hommage à Delacroix (1864), alongside Whistler, Manet, Baudelaire, and other prominent figures of the avant-garde.
The Move to England and a New Chapter
The year 1863 marked a significant turning point in Legros's life and career. Encouraged by his friend James McNeill Whistler, who had already established himself in London, Legros decided to relocate to England. The London art scene, while perhaps less overtly radical than Paris, offered new opportunities and a different cultural environment. Legros quickly found his footing, initially supporting himself by teaching and through his printmaking.
His arrival in England did not mean a severance from his French roots or connections. He continued to exhibit in Paris and maintained contact with his French colleagues. However, England would become his permanent home. He married Frances Rosetta Hodgson in 1866, and in 1881, he formally became a British citizen, a testament to his integration into his adopted country.
A Master of Multiple Disciplines
Alphonse Legros was a remarkably versatile artist, achieving distinction not only as a painter but also as an etcher, sculptor, and medallist. This breadth of skill was unusual and reflected his deep engagement with different artistic traditions and techniques.
Painting: Realism and Portraiture
As a painter, Legros remained committed to the realist principles that had informed his early work. His subjects often included scenes of rural life, religious themes, and, increasingly, portraits. His peasant scenes, such as Le Chaudronnier (The Tinker) and The Pilgrim, continued to explore the dignity and hardship of ordinary lives, often imbued with a somber, almost melancholic atmosphere. These works were characterized by their strong composition, restrained palette, and powerful characterization.
His portraiture was highly regarded. He painted and drew many eminent figures of the Victorian era, including Thomas Carlyle, Alfred Tennyson, Robert Browning, George Frederic Watts, and Sir Frederic Leighton. These portraits are notable for their psychological insight and their unadorned, direct presentation of the sitter. His Portrait of Charles Darwin (1881) is a particularly fine example, capturing the intellectual power and thoughtful demeanor of the great naturalist. He also created memorable portraits of fellow artists, such as his powerful depiction of Auguste Rodin (1882).
The Etching Revival and Legros's Pivotal Role
Perhaps Legros's most enduring impact on British art was in the field of etching. When he arrived in England, etching was not widely practiced as an original art form, often being relegated to reproductive purposes. Legros, alongside Whistler and Sir Francis Seymour Haden (Whistler's brother-in-law), became a key figure in the Etching Revival, a movement that sought to re-establish etching as a significant medium for artistic expression.
Legros was a master etcher, possessing a superb command of line and an ability to create powerful effects of light and shadow. His etchings often explored themes similar to his paintings: peasant life, religious subjects, allegories of death (such as his famous La Mort du Vagabond series), and stark, evocative landscapes. His style was direct and forceful, often reminiscent of Old Masters like Rembrandt, Dürer, and Goya, whose work he deeply admired and studied. He produced a large body of prints, demonstrating the expressive potential of the medium. His influence extended beyond his own work; through his teaching, he inspired a new generation of British artists to take up etching.
Sculptural Endeavors and Medallic Art
Legros also turned his hand to sculpture and medallic art, particularly in his later career. His sculptures, often in bronze, included portrait busts and figural compositions. As with his other work, these pieces were characterized by their strong modelling and expressive power. He was particularly drawn to the art of the medal, inspired by the masters of the Italian Renaissance like Pisanello.
In 1885, Legros was instrumental in founding the Society of Medallists in London, serving as its first president. This society aimed to revive the art of the cast medal, as opposed to the struck medal, emphasizing artistic quality and design. He designed a number of notable medals himself, including portraits of prominent Victorians, which were praised for their classical simplicity and strong characterization. His work in this field helped to elevate the status of medallic art in Britain. One notable collaboration was with Auguste Rodin, whom Legros assisted in the casting of medals, including the Ionides portrait medal.
The Slade Professorship and Educational Legacy
In 1876, Legros was appointed Slade Professor of Fine Art at University College London, succeeding Sir Edward Poynter. He held this prestigious and influential post for sixteen years, until his retirement in 1892. His tenure at the Slade School of Fine Art was transformative. He reformed the curriculum, placing a strong emphasis on drawing from life and the study of the Old Masters. His teaching methods, influenced by his own training under Lecoq de Boisbaudran, stressed rigorous observation, sound draughtsmanship, and a deep understanding of anatomy and form.
Legros was a demanding but respected teacher. He insisted on high standards and instilled in his students a respect for craftsmanship and artistic integrity. He established a dedicated etching class, which was instrumental in training many of the leading printmakers of the next generation, including William Strang (who became his assistant), Charles Holroyd, and Sir Muirhead Bone. His influence extended to painters as well, and the Slade School under his direction became one of the most important art training institutions in Britain. His impact on British art education was profound and lasting, helping to shape the course of British art for decades. Prior to his Slade appointment, he had also taught etching at the South Kensington Art School (now the Royal College of Art) and the Royal Academy Schools, further disseminating his expertise.
Relationships and Artistic Circle
Throughout his career, Legros maintained connections with a wide circle of artists, both in France and England. His early friendships with Whistler and Fantin-Latour were crucial in his formative years. While his friendship with Whistler eventually cooled, as was common with the mercurial American artist, their early association was mutually beneficial. His relationship with Auguste Rodin, begun in their student days, was rekindled in the 1880s, leading to collaborations and mutual support. Legros played a role in introducing Rodin's work to British audiences.
He was also acquainted with Edgar Degas, who invited him to participate in the second and third Impressionist exhibitions in Paris (1876 and 1877), although Legros's own work remained firmly rooted in realism rather than Impressionism. His interest in earlier French masters like Eugène Delacroix and Jean-François Millet was fostered through connections with artists like Dante Gabriel Rossetti, who, along with Whistler, helped to introduce contemporary French art to British circles.
In England, he was respected by leading figures of the Royal Academy, such as Frederic Leighton and George Frederic Watts, both of whom he portrayed. He exhibited regularly at the Royal Academy and other London galleries. His studio became a meeting place for artists and intellectuals, and he was a well-regarded, if somewhat reserved, figure in the London art world.
Artistic Philosophy and Style: A Blend of Tradition and Individuality
Alphonse Legros's artistic philosophy was grounded in a deep respect for tradition and craftsmanship. He admired the technical mastery and expressive power of the Old Masters, from the Italian Renaissance to the Spanish Golden Age and the Dutch Republic. This reverence for the past did not, however, translate into mere imitation. Legros absorbed the lessons of his predecessors but forged a distinctive style that was very much his own.
His work is characterized by its seriousness of purpose, its strong draughtsmanship, and its often somber and monumental quality. Whether depicting a humble peasant, a religious scene, or a stark landscape, Legros imbued his subjects with a sense of dignity and gravitas. There is often an undercurrent of melancholy or a preoccupation with themes of labor, suffering, and mortality, particularly evident in his etchings like the Triumph of Death series or Death and the Woodman. These "macabre" or "fantastique" elements, as Baudelaire might have termed them, add a layer of psychological depth to his work, setting him apart from more straightforward realists.
He was less concerned with the fleeting effects of light and color that preoccupied the Impressionists, focusing instead on line, form, and chiaroscuro to create powerful and enduring images. His commitment to realism was not simply about depicting the world as it appeared, but about conveying the underlying truth and emotional resonance of his subjects.
Later Years and Enduring Legacy
After retiring from the Slade School in 1892, Legros continued to work, though perhaps with less public visibility. He spent his later years in Watford, Hertfordshire, where he died in 1911. By the time of his death, the art world had moved on to embrace new movements like Post-Impressionism and early modernism. However, Legros's contributions remained significant.
His most enduring legacy lies in his role in the Etching Revival and his profound impact on art education in Britain. He trained a generation of artists who carried forward his commitment to technical excellence and expressive power in printmaking. As a painter and sculptor, he produced a substantial body of work characterized by its integrity, strength, and distinctive vision. He successfully navigated the art worlds of two countries, bringing a French sensibility to British art while also absorbing aspects of his adopted culture.
Alphonse Legros may not be as widely known today as some of his more flamboyant contemporaries, but his dedication to his craft, his versatility across multiple media, and his influential role as a teacher secure his place as an important figure in the art of the nineteenth century. His work continues to be appreciated for its technical mastery, its emotional depth, and its powerful depiction of the human condition. He remains a testament to the enduring values of realism and the importance of skilled draughtsmanship in an ever-evolving artistic landscape.
