LA MONTAGNE VERTE PAR EUGENE DELACROIX

EUGENE  DELACROIX (1798-1863)

 La Montagne Verte (1,190 m - 3,901 ft)

France  (Pyrenees)

In  La montagne Verte - montagne par temps sombre, Pyrénées, 1845 

Musée du Louvre Paris. 

The mountain 

La Montagne Verte (1,190 m - 3,901 ft)  is a mountain located between Laruns and the Col d'Aubisque, in the french side of Pyrenees. It is really a mountain of green color! It is a grassy plateau, curled, dotted with barns, as picturesque as easy to find, on foot or by mountain bike, thanks to the abundance of tracks and paths. In spite of its modest altitudes, this stroll in Vallée d'Ossau offers, especially in the spring, splendid views on the high Pyrenees massifs surrounding long for snow.

The painter 
Ferdinand Victor Eugène Delacroix was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school. As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe.
In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and carefully modeled form. Dramatic and romantic content characterized the central themes of his maturity, and led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic. Friend and spiritual heir to Théodore Géricault, Delacroix was also inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in often violent action.
However, Delacroix was given to neither sentimentality nor bombast, and his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as clearly as possible."
In 1832, Delacroix traveled to Spain and North Africa, as part of a diplomatic mission to Morocco shortly after the French conquered Algeria. He went not primarily to study art, but to escape from the civilization of Paris, in hopes of seeing a more primitive culture.  He eventually produced over 100 paintings and drawings of scenes from or based on the life of the people of North Africa, and added a new and personal chapter to the interest in Orientalism.  Delacroix was entranced by the people and the costumes, and the trip would inform the subject matter of a great many of his future paintings. He believed that the North Africans, in their attire and their attitudes, provided a visual equivalent to the people of Classical Rome and Greece: "The Greeks and Romans are here at my door, in the Arabs who wrap themselves in a white blanket and look like Cato or Brutus…"
He managed to sketch some women secretly in Algiers, as in the painting Women of Algiers in their Apartment (1834), but generally he encountered difficulty in finding Muslim women to pose for him because of Muslim rules requiring that women be covered. Less problematic was the painting of Jewish women in North Africa, as subjects for the Jewish Wedding in Morocco (1837–41).
While in Tangier, Delacroix made many sketches of the people and the city (see painting above), subjects to which he would return until the end of his life. Animals—the embodiment of romantic passion—were incorporated into paintings such as Arab Horses Fighting in a Stable (1860), The Lion Hunt (of which there exist many versions, painted between 1856 and 1861), and Arab Saddling his Horse (1855).

PUIG NEULOS PAINTED BY ANDRE DERAIN

ANDRE DERAIN (1880-1954)   

Puig Neulos (1,256m - 4,121ft)

Montagnes à Collioure, 1905 

 National Gallery of Art, Washington DC

The mountain 

The Puig Neulós (1,256m - 4,121ft) (or peak Neulos  or Néoulous) is the highest point  of the Albera Range. Puig Neulós is a Catalan name that has been kept as it is in French. Puig refers to a summit or a mountain rounded, Neulós is analogous to the French "nebulous" or "clouded". There is a mention of the summit in a 1322 text in the Latin form Nebuloso Podio, which has exactly the same meaning.

Puig Neulós marks the border between France and Spain, divided between the towns of Laroque-des-Albères, Sorède in the Pyrenees-Orientales and La Jonquera in the province of Girona (Spain). On the summit, there are some antennas for a digital TV and radio transmitter and there is a paved road on the French side (from el Perthus) restricted to military use. 

Below Puig Neulos, on a line of ridges, is the Roc du Midi, very visible, and on the west  the Fouirous rock southwest exposed outcrop. The summit, as well as most of the southern side of the range is part of the National  Park of Albera Range Natural Reserve.

The painter

André Derain was a French artist, painter, sculptor and co-founder of Fauvism with Henri Matisse.

Derain and Matisse worked together through the summer of 1905 in the Mediterranean village of Collioure;  the painting above  showing Collioure mountains and Mount Puig Neulos in the background is dated precisely from that year. Later that year they displayed their highly innovative paintings at the Salon d'Automne. The vivid, unnatural colors led the critic Louis Vauxcelles to derisively dub their works as les Fauves, or "the wild beasts", marking the start of the Fauvist movement. In March 1906, the noted art dealer Ambroise Vollard sent Derain to London to produce a series of paintings with the city as subject. In 30 paintings (29 of which are still extant), Derain presented a portrait of London that was radically different from anything done by previous painters of the city such as Whistler or Monet. With bold colors and compositions, Derain painted multiple pictures of the Thames and Tower Bridge. These London paintings remain among his most popular work. Art critic T.G Rosenthal: "Not since Monet has anyone made London seem so fresh and yet remain quintessentially English. Some of his views of the Thames use the Pointillist technique of multiple dots, although by this time, because the dots have become much larger, it is rather more simply the separation of colours called Divisionism and it is peculiarly effective in conveying the fragmentation of colour in moving water in sunlight."

In 1907 art dealer Daniel-Henry Kahnweiler purchased Derain's entire studio, granting Derain financial stability. He experimented with stone sculpture and moved to Montmartre to be near his friend Pablo Picasso and other noted artists. 

At Montmartre, Derain began to shift from the brilliant Fauvist palette to more muted tones, showing the influence of Cubism and Paul Cézanne.(According to Gertrude Stein, there is a tradition that Derain discovered and was influenced by African sculpture before the Cubists did.  Derain supplied woodcuts in primitivist style for an edition of Guillaume Apollinaire's first book of prose, L'enchanteur pourrissant (1909). He displayed works at the Neue Künstlervereinigung in Munich in 1910, in 1912 at the secessionist Der Blaue Reiter and in 1913 at the seminal Armory Show in New York. He also illustrated a collection of poems by Max Jacob in 1912.

During the German occupation of France in World War II, Derain lived primarily in Paris and was much courted by the Germans because he represented the prestige of French culture. Derain accepted an invitation to make an official visit to Germany in 1941, and traveled with other French artists to Berlin to attend a Nazi exhibition of an officially endorsed artist, Arno Breker. Derain's presence in Germany was used effectively by Nazi propaganda, and after the Liberation he was branded a collaborator and ostracized by many former supporters.

A year before his death, he contracted an eye infection from which he never fully recovered. He died in Garches, Hauts-de-Seine, Île-de-France, France in 1954 when he was struck by a moving vehicle.

Derain's London paintings were the subject of a major exhibition at the Courtauld Institute from 27 October 2005 to 22 January 2006.

PENA OROEL PAINTED BY JOAQUIN SOROLLA

JOAQUIN SOROLLA Y BATISDA (1863-1923)

 Peña Oroel (1,769 m - 5, 803 ft) 

Spain 

The mountain 
Peña Oroel ((1,769 m - 5, 803 ft)  is a mountain located in Huesca (Spain), near the town of Jaca, in the chain of spanish Pyrenees. Not very high, his great personality makes it visible throughout the city of Jaca and surroundings. Its summit is only 5.5 km as the crow flies from the center of Jaca.
This mountain is part of a cluster of rocks located between the Pre-Pyrenees (Partacua range) and Guara separating  the middle basin of Aragon by the Gállego river.
Many legends on this mountain. One attributes the beginning of the Reconquest of Aragon by Isabella The Catholic when a fire have appeared at the top of the Peña Oroel, giving a mysterious fighting starting signal.  Another legend claims that Pena Oroel hides in its entrails a gold mine or a treasure, which of course was never found. This willingly described as Magic Mountain is part of a triangle that encompasses peaks located in San Adrián de Sasabe and San Juan de la Peña.
The ascent of the Pena Orcel is made easy by the fact that the base of the north face located at 1,200 m (El Parador) can be reached by car. There are only 9 km,  by four wheels vehicle, between Jaca and the  base of the South face. The North face is made of a brown stone wall with a steep slope covered with lush pine forest dominated by spruce in its top layer.

The painter 
Joaquin Sorolla y Bastida  was a Spanish painter.  Sorolla excelled in the painting of portraits, landscapes, and monumental works of social and historical themes. His most typical works are characterized by a dexterous representation of the people and landscape under the sunlight of his native land.

Sorolla's influence on some other Spanish painters, such as Alberto Pla y Rubio and Julio Romero de Torres, was so noted that they are described as "sorollista."

After his death, Sorolla's widow, Clotilde Garcia del Castillo, left many of his paintings to the Spanish public. The paintings eventually formed the collection that is now known as the Museo Sorolla, which was the artist's house in Madrid. The museum opened in 1932.

Sorolla's work is represented in museums throughout Spain, Europe, America, and in many private collections in Europe and America. In 1933, J. Paul Getty purchased ten Impressionist beach scenes made by Sorolla, several of which are now housed in the J. Paul Getty Museum.

In 2007 many of his works were exhibited at the Petit Palais in Paris, alongside those of John Singer Sargent, a contemporary who painted in a similarly impressionist-influenced manner. In 2009, there was a special exhibition of his works at the Prado in Madrid, and in 2010, the exhibition visited the Oscar Niemeyer Museum in Curitiba, Brazil.

From 5 December 2011 to 10 March 2012, several of Sorolla's works were exhibited in Queen Sofia Spanish Institute, in New York. This exhibition included pieces used during Sorolla's eight-year research for The Vision of Spain.

An exhibition titled Sorolla & America explored Sorolla’s unique relationship with the United States in the early twentieth century. The exhibition opened at the Meadows Museum at SMU in Dallas (13 December 2013 - 19 April 2014). From there it traveled to the San Diego Museum of Art (30 May - 26 August 2014) and then to Fundaciun MAPFRE in Madrid (23 September 2014 - 11 January 2015).

The Spanish National Dance Company honored the painter's The Vision of Spain by producing a ballet Sorolla based on the paintings

Early in 1911, Sorolla visited the United States for a second time, and exhibited 152 new paintings at the Saint Louis Art Museum and 161 at the Art Institute of Chicago a few weeks later. Later that year Sorolla met Archie Huntington in Paris and signed a contract to paint a series of oils on life in Spain. These 14 magnificent murals, installed to this day in the Hispanic Society of America building in Manhattan, range from 12 to 14 feet in height, and total 227 feet in length.The major commission of his career, it would dominate the later years of Sorolla's life.

Huntington had envisioned the work depicting a history of Spain, but the painter preferred the less specific 'Vision of Spain', eventually opting for a representation of the regions of the Iberian Peninsula, and calling it The Provinces of Spain. Despite the immensity of the canvases, Sorolla painted all but one en plein air, and travelled to the specific locales to paint them: Navarre, Aragon, Catalonia, Valencia, Elche, Seville, Andalusia, Extremadura, Galicia, Guipuzcoa, Castile, Leon, and Ayamonte, at each site painting models posed in local costume. Each mural celebrated the landscape and culture of its region, panoramas composed of throngs of laborers and locals. By 1917 he was, by his own admission, exhausted. He completed the final panel by July 1919.

Sorolla suffered a stroke in 1920, while painting a portrait in his garden in Madrid. Paralyzed for over three years, he died on 10 August 1923. He is buried in the Cementeri de Valencia, Spain.

The Sorolla Room, housing the Provinces of Spain at the Hispanic Society of America, opened to the public in 1926. The room closed for remodeling in 2008, and the murals toured museums in Spain for the first time. The Sorolla Room reopened in 2010, with the murals on permanent display.

PIC DU MIDI D'OSSAU PAINTED BY EMILE GODCHAUX

EMILE GODCHAUX (1860-1938) 

The Pic du Midi d'Ossau (2, 848 m - 9,462 ft) 

France 

 Painted in 1890

The mountain

The Pic du Midi d'Ossau (2, 848m-9,462 ft)  not to be confused with  the Pic du Midi de Bigorre is a mountain rising above the Ossau Valley in the French Pyrenees. Despite possessing neither a glacier nor, in the context of the range, a particularly high summit, its distinctive shape makes it a symbol of the French side of the Pyrenees. This familiar shape also makes it easily recognisable from afar, and it is particularly distinctive from the Boulevard des Pyrénées in Pau, some 55 km to the north.

The Pic du Midi d'Ossau lies within the commune of Laruns, in the département of Pyrénées Atlantiques and the Aquitaine region of France. It lies within the fully protected area of the Pyrenees National Park.  As normally seen from the north, the mountain presents itself as having two distinct peaks, although from the south two other summits are also visible. It stands separate from any surrounding peaks, being largely surrounded by the valleys of the Gave de Bious, to the west, and the Gave du Brousset, to the east. These two mountain streams come together in the hamlet of Gabas at the foot of the mountain's northern slopes, to form the Gave d'Ossau.

The valley of Ossau is placed in the Béarnaises Pyrénées, between la vallée d'Aspe and the Vallée de Gavarnie, from Rébénacq to the French-Spanish frontier (Col du Portalet). The Col d'Aubisque closes the valley to the east. The villages (from N to S) of the high Ossau are: Bilhères, Bielle, Béon, Bélesten, Gère-Bélesten, Aste-Béon, Louvie-Soubiron, Béost, Assouste, Aas, Laruns, Eaux-Bonnes, Gourette, Eaux-Chaudes, Goust, Gabas, Arouste-Fabréges and Pont de Camps.

The Pic du Midi d'Ossau was reputedly first climbed in 1552 by an expedition led by François de Foix-Candale, later to become the Bishop of Aire. Although the success of this first climb is disputed, it is known that the mountain had been successfully climbed by 1787 when a military surveyor noted that a triangulation cairn had been built on the summit. The first fully recorded climb was by Guillaume Delfau accompanied by Mathieu (a shepherd from Eaux-Bonnes) on October 2, 1797.

The mountain offers many routes of ascent; the voie normale is a serious scramble and rock climb with a grading of PD, II+, 550 m. It approaches the summit via the Refuge de Pombie, a Club Alpin Français owned mountain hut situated at 2,031 m - 6,663 ft, and requires most of a day to execute.

Two others refuges : Cabane Pyrenea Sports belonging to Société Pyrénées Sports at Pau, 25 places located on the NE shore of Lac de Bious-Artigues, and Cabane de Peyreget (1.950 m)

non guarded, 4 places located near Lac de Peyreget and W of Peyreget' little peak ridge. 

Reference 

 - Pic du Midi d'Ossau in Summitpost.org 

The painter 
 Emile Godchaux is a french painter born in 1860. He is  perhaps from the  same the family than the sculptor Roger Godchaux. He is often confused with an other painter from Lyon, Alfred Godchaux, who painted at the same time on similar themes and in a fairly close manner.
Emile Godchaux was well-known from the Bordeaux junk dealers around 1900,  due to the fact he used to sell  his paintings in public places, putting sometimes them in the lottery, the painting being then the jackpot of a series of 10 or 20 tickets for 1 franc !
His favorite themes were the ports, the cliffs of the Normandy coast, the animated Atlantic beaches and fishing boats, the mountainous landscapes taken on the ground in the Pyrenees and Savoie, Venice. His skies are often tumultuous. His characters in costumes of fishermen or farmers  of the end of the century. The material is beautiful, generous and dense, robust design in its schematic. The signing comes in two very different forms, one classic, a large and very readable layout, the other finely cut into the dough through a tip (some paintings bear two signatures). Some mystery still hangs over this prolific painter for which researches are ongoing.
Reference 
- Galerie du Palais Gallien 

MONTE PERDIDO BY GUSTAVE DORE

GUSTAVE DORE (1832-1883)

 Mont Perdu or Monte Perdido (3,355 m -11,007ft)
Spain

In Ramond à l'assaut du Mont Perdu, print  from  "Voyages au Mont Perdu "  
by Ramond de Carbonnieres 

The mountain
Monte Perdido (3,355 m -11,007ft), Mont Perdu in French, located in Spain, near the French-Spanish border, is the highest summit above sea level on the ridge separating the canyons of Ordesa and Pineta  in the Pyrénées. This is the central peak of  Tres Hermanas (Spanish) consist of the cylinder Marboré, the Soum de Ramond, and Monte Perdido itself.
Observable from the peaks popular at the time (including the Pic du Midi de Bigorre), Mount Perdido is no longer visible from the French valleys, as located behind the watershed line between France and Spain.
The limestone, rich in fossils are marine sedimentary origin. These sediments occupying a shallow sea were raised during the formation of the Pyrenees there are 40 million years (see article Geology of the Pyrénées).The summit a form of typical pyramidal peak of erosion by glaciers time of glaciation, he is still on the northeast side of the mountain the Monte Perdido glacier.
Ramond Carbonnières, is the firstpersonn to have discover Mount Perdu. Since his first stay in Barèges, in 1787, he was fascinated by the "massive limestone" of Marboré.  In 1796, convinced that the nature of the limestone Marboré is "ordinary" Ramond  determines an access route to the summit: the Estaubé Valley.
August 11, 1797, he organized a real strong expedition of fourteen participants to the summit: The hard glacial corridor Tuquerouye. His guides, Laurens and Mouré, and a Spanish smuggler to lead the Frozen lake at the foot of the north face of the peak. A second expedition, September 7, follows the same route: very tricky climb through the corridor Tuquerouye in hard ice late in the season, return by parets of Pinewood and port. Ramond finds confirmation of his thesis: limestone, rich in fossils are marine sedimentary origin. His observations during these "expeditions" are the subject of his masterpiece: Travel to Monte Perdido and in the adjacent part of the Pyrénées appeared in the An IX of the French Revolution (1801). It was only in 1802 that Ramond decided to reach the summit of Mont Perdu.
On 6 August 1802 first known ascent to the summit of Mont Perdu by two Barèges guys, Rondo and Laurens led at the top by an Aragonese shepherd. Rondo and Laurens had been sent scouts to recognize the ascent route by Ramond Carbonnières that, with the same guides, realized the second ascent of Mont Perdu, 10 August 1802. The route followed was long and complicated: Valley Estaubé, port Pine, crossing parets from Pinewood to the col de Niscle east of Monte Perdido, glacier climbing and the southern slope terraces.
1830 - First women, by Anne Lister (who will do the "first" official Vignemale in 1838) with Charles guide.
1888 - First ascent of the north face by guides Célestin Passet and François Bernat-Salles, and pyreneist Roger Monts. The north side of Mount Perdu, above the lake Tuquerouye, was occupied by a glacier with seracs two areas covering the rock bars bottom and middle of the face.

The painter

Paul-Gustave-Louis-Christophe Doré said Gustave Doré, born January 6, 1832 in Strasbourg and died January 23, 1883 in Paris in his house in the rue Saint-Dominique, is an illustrator, writer, cartoonist, painter and French sculptor. It has been internationally recognized in his lifetime.
In 1851, two albums Three artists misunderstood and unhappy and Des-approval for a pleasure trip are published at Aubert. Freed from the inspiration of Rudolf Töppfer and compliance executives, Gustave Doré performs freely arranged vignettes with several dimensions. The plurality of page composition, its innovations and graphic variants are deployed mainly in Des-approval for a pleasure trip. His technique uses the lithographic pencil, drawing directly on the stone.
Paul Lafon, writer and editor, he had met with Philipon, agreed to his request to illustrate the works of Rabelais. In 1854, the book is published by Bry with 99 vignettes and 14 inset plates engraved on wood. This affordable edition with low printing quality and modest size (large octavo) is not up to the high ambitions of Gustave Doré. In 1854 and 1873 shows two versions of "Rabelais Works" and in 1855: The Hundred Tales of comical  by Honoré de Balzac.
In 1856 he illustrates with a painter's hand, The Wandering Jew, a poem set to music by Pierre Dupont, a work break in his artistic career and in the history of the woodcut. Abandoning copper engraving usually privileged, Gustave Doré chooses the color of wood technical (interpretation etching).  Doré formed its own school burners. Each plank of the work, with a short caption end of the poem is a work of painting. The large format of the book allows the transition to movies folio. The image is independent of the text. This work is having great success with the public.
Gustave Doré wants to deploy his talent in illustration of the great works of literature, with contempt observed towards caricature and drawing current. It will list the thirty masterpieces in the epic, comic or tragic his ideal library wishing illustrate them in the same format as the Wandering Jew, Dante's Inferno, the Tales by Perrault, Don Quixote, Homer, Virgil, Aristotle, Milton (The lost paradise) or Shakespeare ... The publishers refuse to perform these luxury publications of too much cost. Gustave Doré should self-publish the works of Dante in 1861. The critical and popular success hails striking prints on the text. A critic will assert that: "The author is crushed by the designer. More than Dante illustrated by Doré, Doré is illustrated by Dante. "
In the 1860s, he illustrated the Bible.
He attended high society and expands his pictorial activities it consists of large paintings like Dante and Virgil in the ninth circle of Hell (1861 - 311 × 428 cm - Musée de Brou), The Enigma (Musée d'Orsay ) or the Christ leaving court (1867-1872 - 600 × 900 cm² Museum of modern and Contemporary Art of Strasbourg).
According to Ray Harryhausen, famous designer of special effects,
Multiplying together drawings and illustrations of all kinds (fantastic, portraits-loads), its reputation extends to Europe, he met a huge success in England with the Doré Gallery that opened in London in 1869. In 1875, the figure of Samuel Coleridge's poem The Rime of the Ancient Mariner (Lament of the Ancient Mariner) published in London by Golden Gallery is one of his greatest masterpieces.
His art of composition culminated in London, a Pilgrimage by Blanchard Jerrold, true story about the London of the late nineteenth century when all classes are present, inspiration is particularly striking in the description of the London slums.
He died of a heart attack at age 51 on January 23, 1883, leaving an impressive work of more than ten thousand pieces, which will have later a strong influence on many illustrators. His friend Ferdinand Foch organizes the funeral at St. Clotilde, burial at Père Lachaise and a farewell meal at 73 rue Saint-Dominique.

LE PORT DE VENASQUE PAINTED BY CHARLES MERCEREAU

CHARLES MERCEREAU (1822-1864)

Le Port de Venasque (2,444 m - 8,0183ft)
France 

Seen from the french border (Luchon-Pyrénées)  in 1860

The mountain 

Le port de Vénasque  (2, 444 m - 8,0183ft), Puerto de Benasque (in spanish)  is a border pass in the Pyrenees, located on the crest Franco-Spanish, between the valley  of the Pique in north and the valley of the Esera in the south. Its altitude is 2,444 m, between the Pic de la Mine (2,707 m) to the east, and the Pic de la Sauvegarde (2,738 m) to the west.

The name "Port" (from Latin "Portus") refers in the Pyrenees to a neck (often devoid of paved road). Its name comes from the nearby Spanish town of Benasque, which was put in french language as Vénasque.  Some think it would be desirable to return to the port of Benasque name, but the current form is predominant in use.
From France, it connects the Vallée de la Pique, after many bends, by Booms (lakes) to the refuge of Vénasque. From Spain, it connects the Esera valley facing the Maladeta massif and its peaks of Maladeta, Aneto  (the highest peak of the Pyréneées) and cursed ; it overlooks the Hospice  of Vénasque further west.
Le port de Vénasque was used at all times for communications between Aragon (Spain) and Luchon (France). However, it has long preferred the wearing of Glère called the Old Port, located to the west, which was easier to access until the port Vénasque is finished, it is said, by orders of a count of Comminges, from 1325, to be taken by a horse ridden by a rider, and called from the new Port. It has been used by many armies from the Romans, to the armies of the Napoleonic wars and anti-Franco guerrillas during the invasion of the Val d'Aran attempt in 1944, as well as traders and smugglers, according to  many legends.
Le port de Vénasque was a hiking destination popular with the french society of the 19th century and is still a place of passage for hikers and climbers towards the Maladeta massif, the Posets and mountains of Luchon. The bibliophile and "inventor of Pyreneism" Henri Béraldi (One hundred years to the Pyrenees) boasted be mounted hundred times, which is probably not a record. A trail quickly leads to the top of the Pic de la Sauvegarde.

The illustrator

Charles Mercereau, engraver, lithographer born on 12/11/1822 in Rochefort and died on 03/27/1864 in Paris.  He was engineer  of the School of Arts and Manufactures and many of his prints were published after his death. His themes are his hometown (Rochefort) and its region including Royan, Pau (castle and region) Lourdes, Toulouse and part of the Pyrenees mountains. Contemporary of Bernadette Soubirou, he engraved the "apparition" in the Cave. It is also known to have treated many architectural and Masonic subjects.