Jules Bertrand Gelibert stands as a significant, if sometimes overlooked, figure in 19th-century French art, particularly renowned for his exceptional ability to capture the vitality and spirit of hunting scenes and the noble character of dogs. His work, spanning both sculpture and painting, offers a vivid window into the aristocratic and sporting life of his era, rendered with a realism and empathy that continue to resonate with art lovers and animal enthusiasts alike.
Early Life and Artistic Awakening
Born in 1834 in Bagnères-de-Bigorre, a picturesque spa town nestled in the Hautes-Pyrénées department of southwestern France, Jules Bertrand Gelibert's early environment may have subtly influenced his later artistic inclinations. The rugged landscapes and the traditional importance of hunting in rural France would have been part of the cultural fabric of his youth. While specific details of his earliest artistic stirrings are scarce, it is clear that he possessed a natural talent that would eventually lead him to the epicenter of the French art world: Paris.
His formal artistic education commenced at the prestigious École des Beaux-Arts in Paris. This institution was the traditional training ground for aspiring artists, emphasizing classical principles, anatomical study, and mastery of technique. During his formative years, Gelibert is noted as having been a student of artists named Giraudet and Pauquet. While these figures may not be as widely recognized today as some of their contemporaries, their tutelage would have provided Gelibert with a foundational understanding of academic artistic practices.
The Pivotal Influence of Louis-Godefroy Janin
A crucial turning point in Gelibert's artistic development came in 1865 when he began to live and study with Louis-Godefroy Janin. Janin was a highly respected painter, particularly celebrated for his skillful and empathetic depictions of dogs. This period of close association with a master of animal portraiture undoubtedly honed Gelibert's observational skills and deepened his understanding of canine anatomy, movement, and expression. The master-apprentice relationship was a common and effective mode of artistic transmission, and Janin's specialized knowledge would have been invaluable to Gelibert's burgeoning career as an animalier.
This mentorship likely solidified Gelibert's focus on animals, particularly dogs and hunting subjects, which would become the hallmark of his oeuvre. The shared passion for these themes also led to direct collaborations, enriching Gelibert's experience and output. The influence of Janin can be seen in the precision and sensitivity with which Gelibert approached his animal subjects throughout his career.
Debut and Early Recognition: The "Druid" Sculpture
Gelibert first gained significant public attention not as a painter, but as a sculptor. His debut at the prestigious Paris Salon, the official art exhibition of the Académie des Beaux-Arts, was in 1861. The work he presented was a sculpture titled "Druid." This was no ordinary canine; Druid was the favored hound of Charles Louis Napoléon Bonaparte, the Prince Imperial, son of Emperor Napoleon III.
To be commissioned or to create a work depicting an animal so closely associated with the Imperial family was a mark of considerable skill and ambition. The sculpture was well-received, earning Gelibert an honorable mention at the Salon. This early success was significant, as the Salon was the primary venue for artists to gain recognition, attract patrons, and establish their careers. The "Druid" sculpture, often reproduced in bronze, remains one of his most iconic pieces and is still sought after by collectors, attesting to its artistic merit and historical significance. This piece firmly established Gelibert's reputation as a talented animalier sculptor.
A Dual Talent: Painting the Thrill of the Chase
While his initial acclaim came through sculpture, Jules Bertrand Gelibert was equally adept as a painter. He brought the same meticulous attention to detail, understanding of anatomy, and ability to capture movement to his two-dimensional works. His paintings predominantly focused on hunting scenes, a genre that was popular among the aristocracy and landed gentry who were often his patrons.
Gelibert's hunting scenes are characterized by their dynamism and realism. He masterfully depicted hounds in full cry, their bodies tensed with exertion, pursuing their quarry through richly rendered landscapes. Works such as "La chasse au renard" (The Fox Hunt, though some sources translate it as Hare Chase, indicating the fluidity of prey in such scenes) and "Lièvre pris par des chiens" (Hare Caught by Dogs) exemplify his skill in this area. These paintings are not mere sporting records; they are dramatic narratives, capturing the raw energy and primal instincts of the hunt.
His palette was often rich and naturalistic, and he demonstrated a keen eye for the effects of light and shadow, which added depth and atmosphere to his compositions. He worked in various mediums, including oil on canvas, watercolor, charcoal, and colored pencil, showcasing his versatility.
Canine Portraits: Nobility and Character
Beyond the frenzy of the hunt, Gelibert also excelled at more formal canine portraiture. He possessed an uncanny ability to capture the individual character and personality of his subjects. His dog portraits are imbued with a sense of dignity and often an almost human-like expressiveness. Whether depicting a pack of hounds resting after a hunt or a single, prized pet, Gelibert treated his canine subjects with respect and a clear affection.
A notable example is "Abreuvoir" (The Watering Place), painted in 1864, which features West Highland White Terriers. The painting is praised for its realistic detail and the lifelike quality of the dogs. Another significant work, an 1881 oil painting titled "Eight French Hounds After the Hunt at Fontainebleau," fetched a remarkable $64,000 at auction, underscoring the enduring appeal and market value of his canine art. Fontainebleau, a historic royal hunting ground, provided a fitting backdrop for such a composition, evoking a long tradition of French venery.
These portraits were highly sought after by dog owners and enthusiasts, who appreciated Gelibert's ability to immortalize their companions with such fidelity and artistry. His work in this area places him firmly in the tradition of great dog painters.
Collaborations and the Artistic Milieu
The collaboration with Louis-Godefroy Janin was particularly fruitful. Together, they created works such as "Deer Hunt at the Bellecroix Pond." This painting was a significant achievement, earning a bronze medal at the Universal Expositions (World's Fairs) of 1890 and 1900. These international exhibitions were major cultural events, and receiving an award was a prestigious honor that brought artists international recognition.
Gelibert practiced his art in a vibrant period for animalier art in France. He was a contemporary of, or followed in the tradition of, several other masters in this field. The great Romantic sculptor Antoine-Louis Barye (1795-1875) had elevated animal sculpture to a high art form with his dramatic and powerful bronzes. Rosa Bonheur (1822-1899), a highly successful female painter, was renowned for her realistic and large-scale depictions of animals, including her famous "The Horse Fair."
Other notable animalier sculptors of the era included Pierre-Jules Mêne (1810-1879), known for his detailed and popular small-scale bronzes of domestic animals and hunting scenes, and Emmanuel Frémiet (1824-1910), who created monumental works like the Joan of Arc statue in Paris but also many fine animal sculptures. Christophe Fratin (1801-1864) was another prominent animal sculptor whose work Gelibert might have known.
In painting, artists of the Barbizon School, such as Constant Troyon (1810-1865) and Charles Jacque (1813-1894), often incorporated animals, particularly livestock and dogs, into their landscape paintings, emphasizing a realistic portrayal of rural life. Even the arch-Realist Gustave Courbet (1819-1877) tackled hunting scenes, such as "The German Huntsman," offering a grittier, less romanticized vision than Gelibert's but sharing a commitment to observed reality. The academic painter Jean-Léon Gérôme (1824-1904), while known for historical and Orientalist scenes, also demonstrated a masterful ability to paint animals when his subjects required it. The landscape tradition, exemplified by artists like Jean-Baptiste-Camille Corot (1796-1875), provided the atmospheric backdrops that were integral to the outdoor scenes favored by Gelibert. Another artist who specialized in animal and hunting scenes was Alexandre-Gabriel Decamps (1803-1860). Gelibert's work, therefore, fits into a rich and varied tradition of animal representation in 19th-century French art.
Artistic Style: Realism and Empathy
Gelibert's style is firmly rooted in Realism. He eschewed overt sentimentality, focusing instead on accurate anatomical representation, the textures of fur and foliage, and the convincing depiction of movement. His deep understanding of animal anatomy, likely honed through his sculptural practice and studies with Janin, allowed him to portray animals with a lifelike quality that was highly admired.
His compositions are typically well-balanced, guiding the viewer's eye through the narrative of the scene. In his hunting paintings, there is a palpable sense of energy and tension. In his portraits, there is a quiet dignity. The attention to detail is remarkable, from the musculature of a running hound to the expression in a dog's eyes. This meticulous approach did not, however, result in static or photographic works; Gelibert managed to infuse his subjects with a sense of vitality and individual presence.
He also had a strong command of light and shadow, using chiaroscuro to model forms and create a sense of three-dimensionality, even in his paintings. This skill was particularly evident in his sculptures, where the play of light across the bronze surfaces enhanced their dynamism.
Later Career and Legacy
Jules Bertrand Gelibert continued to work and exhibit throughout his career. His studio was located in the Montmartre district of Paris, a hub of artistic activity. He maintained a consistent focus on his chosen subjects, refining his skills and producing a substantial body of work. His paintings and sculptures found their way into numerous private collections and public institutions. Today, his works are held in museums in New York, London, and Paris, as well as in various French chateaux, often those with historical connections to hunting.
Gelibert passed away in Toulouse in 1916. His death marked the end of a long and productive career dedicated to the artistic celebration of the animal kingdom, particularly the world of dogs and the traditions of the hunt. His contribution to the animalier genre is significant. He successfully navigated both sculpture and painting, bringing a high level of technical skill and artistic sensitivity to each medium.
The enduring appeal of Gelibert's work lies in its combination of technical mastery and genuine empathy for his subjects. He did not merely depict animals; he captured their essence. His hunting scenes convey the thrill and drama of the chase, while his canine portraits reveal the unique character and spirit of each animal. In a century that saw a flourishing of animal art, Jules Bertrand Gelibert carved out a distinctive niche, leaving behind a legacy of works that continue to be admired for their beauty, realism, and evocative power. His art serves as a valuable record of a particular aspect of 19th-century French culture and as a timeless tribute to the animals he so clearly understood and respected. His name is rightly placed alongside other distinguished animaliers who enriched the artistic landscape of their time.
