Portraits of his time
Henner, a talented portraitist, painted over 400 portraits, most of which were the result of commissions. In addition to its remunerative aspect, this genre enabled Henner to study the human figure and the physiognomy of his models.
Henner, a talented portraitist, painted over 400 portraits, most of which were the result of commissions. Those preserved at the Musée Henner provide a glimpse into the society of the artist's time. In addition to its remunerative aspect, this genre enabled Henner to study the human figure and the physiognomy of his models.
Les objets
Painting
The Sub-Prefect of Altkirch, Montaubin
1855
Between 1855 and 1857, Henner returned to live in Alsace to concentrate on his painting after failing the Prix de Rome competition. During this period, he produced many commissioned portraits, including that of M. Montaubin, the sub-prefect of Altkirch. This work is among those that built Henner's career as a great portraitist.
Peinture
Nicolas Le Roux
1884
Painting
Countess Kessler
About 1886
Countess Alice Kessler (1844-1919) was a socialite and salonnière figure in Parisian society at the time. Her portrait was undertaken thanks to Mme Charles Beulé, who told Henner: This painting is not the final portrait but a large study that Henner had kept in his studio.
Painting
Jules Janssen
About 1879
This very modern-looking portrait depicts Jules Janssen (1824-1907), astronomer, physicist and friend of Henner. It is a study on blue paper, enhanced with oil paint, for a portrait executed in 1879. Henner and Janssen were very close friends, as evidenced by the abundant correspondence preserved at the museum. They saw each other almost every week for lunches or dinners, in Paris or Meudon, until the end of their lives. Henner and Janssen were very close friends, as evidenced by the abundant correspondence preserved in the museum
Painting
Henriette Germain
1874
Henriette Germain (1869-1952) was the daughter of Henri Germain, Member of Parliament and General Councillor for Ain, co-founder of Crédit Lyonnais in 1863. She is painted here by Henner at the age of 4. This touching image echoes the portraits of children from the families of Parisian high society that the artist frequented. It's a touching image Henner liked this study so much that he kept it in his studio. The final portrait belongs to the model's family.
Painting
Portrait of Madame*** known as "The Woman with the Umbrella"
1874
The Lady with the Umbrella, with her less-than-idealized, highly studied physiognomy and uncluttered background, is a characteristic example of the type of portrait Henner likes to create. Mme*** was called Augustine Durand, but this is not a commission. In 1876, Jules Clarétie referred to the painting that Henner had exhibited at the 1874 Salon. Mme*** was called Augustine Durand, but this is not a commission
Painting
Thérèse Bianchi
About 1889
Henner portrays Thérèse Bianchi (1870-1940) around 1888-1889. In this study, the painter pays particular attention to the treatment of the eyes, whose hardness and darkness denote with the expected image of a young girl from a good family. Thérèse Bianchi, a brilliant salonnière and woman of letters, became the Comtesse Murat in January 1894 through her marriage to Gaëtan-Joachim Murat, an artillery officer.
