Jean-Léon Gérôme

, France Jean-Léon Gérôme was born at Vesoul, Haute-Saône. It was here that Gérôme first received instruction in drawing during his youth in school. He was instructed by local artist and teacher Claude-Basile Cariage, under whom he produced work of sufficient quality to merit more auspicious tutelage. In 1840 he was sent to Paris at the age of 16 where he studied under Paul Delaroche, whom he later accompanied to Italy in 1843. He visited Florence, Rome, the Vatican and Pompeii. On his return to Paris in 1844, like many students of Delaroche, he joined the atelier of Charles Gleyre and studied there for a brief time. He then attended the . In 1846 he tried to enter the prestigious , but failed in the final stage because his figure drawing was inadequate. '' (1846; Musée d'Orsay, Paris) His painting The Cock Fight (1846) is an academic exercise depicting a nude young man and a very thinly draped young woman with two fighting cocks, with the Bay of Naples in the background. He sent this painting to the Paris Salon of 1847, where it gained him a third-class medal. This work was seen as the epitome of the Neo-Grec movement that had formed out of Gleyre's studio (including Henri-Pierre Picou and Jean-Louis Hamon), and was championed by the influential French critic Théophile Gautier, whose review made Gérôme famous and effectively launched his career. Gérôme abandoned his dream of winning the Prix de Rome and took advantage of his sudden success. His paintings The Virgin, the Infant Jesus and Saint John and Anacreon, Bacchus and Eros took a second-class medal at the Paris Salon of 1848. In 1849, he produced the paintings Michelangelo (also called In his Studio) and A Portrait of a Lady. In 1851, he decorated a vase later offered by Emperor Napoleon III to Prince Albert, now part of the Royal Collection at St. James's Palace, London. He exhibited Greek Interior, ''Souvenir d'Italie, Bacchus and Love, Drunk in 1851; Paestum in 1852; and An Idyll'' in 1853. ==Important commissions==

In 1852, Gérôme received a commission to paint a large mural of an allegorical subject of his choosing. The Age of Augustus, the Birth of Christ, which combined the birth of Christ with conquered nations paying homage to Augustus, may have been intended to flatter Napoleon III, whose government commissioned the mural and who was identified as a "new Augustus." A considerable down payment enabled Gérôme to travel and research, first in 1853 to Constantinople, together with the actor Edmond Got, and in 1854 to Greece and Turkey and the shores of the Danube, where he was present at a concert of Russian conscripts making music under the threat of a lash. In 1853, Gérôme moved to the Boîte à Thé, a group of studios in the Rue Notre-Dame-des-Champs, Paris. This became a meeting place for artists, writers and actors, where George Sand entertained the composers: Hector Berlioz, Johannes Brahms and Gioachino Rossini and the novelists Théophile Gautier and Ivan Turgenev. In 1854, he completed another important commission, decorating the Chapel of St. Jerome in the church of St. Séverin in Paris. His Last Communion of St. Jerome in this chapel reflects the influence of the school of Ingres on his religious works. To the Salon of 1855 during the Universal Exhibition he contributed Pifferaro, Shepherd, and The Age of Augustus, the Birth of Christ, but it was the modest painting Recreation in a Russian Camp that garnered the most attention. ==Orientalism==

oil sketches, Ger Eenens Collection, The Netherlands In 1856, Gérôme visited Egypt for the first time. His itinerary followed the classic Grand Tour of the Near East, up the Nile to Cairo, across to Faiyum, then further up the Nile to Abu Simbel, then back to Cairo, across the Sinai Peninsula through Sinai and up the Wadi el-Araba to Jerusalem and finally Damascus. This heralded the start of many Orientalist paintings depicting Arab religious practice, genre scenes and North African landscapes. '', c. 1866, Clark Art Institute. Gérôme executed a very similar painting in 1857, in an ancient Greek or Roman setting. Among these are paintings in which the Oriental setting is combined with depictions of female nudity. The Slave Market, The Great Bath at Bursa, Pool in a Harem, and similar subjects were works of imagination in which Gérôme combined accurately observed Middle Eastern architectural details with idealized nudes painted in his Paris studio. (In 2019, the right wing populist party, Alternative for Germany, used The Slave Market in a campaign poster in the 2019 European Parliament election.) In his travels, Gérôme collected artefacts and costumes for staging oriental scenes in the studio, and also made oil studies from nature for the backgrounds. In an autobiographical essay of 1878, Gérôme described how important oil sketches made on the spot were for him: "Even when worn out after long marches under the bright sun, as soon as our camping spot was reached I got down to work with concentration. But Oh! How many things were left behind of which I carried only the memory away! And I prefer three touches of color on a piece of canvas to the most vivid memory, but one had to continue on with some regret." Gérôme's reputation was greatly enhanced at the Paris Salon of 1857 by his display of Egyptian Recruits Crossing the Desert, Memnon and Sesostris, Camels Watering, and ''Suite d'un bal masqué'' (purchased by the duc d'Aumale, now in the Musée Condé in Chantilly; a copy made by Gérôme in 1859, The Duel After the Masquerade, is in the Walters Art Museum). ==Return to Classical subjects==

'', 1859, Yale University Art Gallery In 1858, he helped to decorate the Paris house of Prince Napoléon Joseph Charles Paul Bonaparte in the Pompeian style. The prince had bought his Greek Interior (1850), a depiction of a brothel also in the Pompeian manner. In Ave Caesar! Morituri te Salutant, shown at the Salon of 1859, Gérôme returned to the painting of Classical subjects, but the picture failed to interest the public. King Candaules (1859) and Phryne Before the Areopagus and Socrates Seeking Alcibiades in the House of Aspasia (both 1861) gave rise to some scandal by reason of the subjects selected by the painter, and inspired bitter attacks by Paul de Saint-Victor and Maxime Du Camp. Also at the 1861 Salon he exhibited Egyptian Chopping Straw and Rembrandt Biting an Etching, two very minutely finished works. In 1863, he married Marie Goupil (1842–1912), the daughter of the international art dealer Adolphe Goupil. They had four daughters and one son. His oldest daughter was Jeanne (1863–1944) and she was followed by Suzanne (1867–1941; married to Aimé Morot), Blanche (1868–1918) and Madeleine (1875–1905). Upon his marriage he moved to a house in the Rue de Bruxelles, close to the Folies Bergère. He expanded it into a grand house with stables with a sculpture studio below and a painting studio on the top floor. ==Atelier at École des Beaux-Arts==

Gérôme was appointed as one of the three professors at the . He started with sixteen students. Between 1864 and 1904, more than 2,000 students received at least some of their art education through Gérôme's atelier at the . Places in Gérôme's atelier were limited, keenly sought and highly competitive. Only the best students were admitted and aspirants considered it an honour to be selected. Gérôme progressed his students through drawing from antique works, casts and followed by life study with live models generally selected on the basis of their physique, but occasionally for their facial expression in a sequence of exercises known as the academie. Students drew parts of a bust before the entire bust, then parts of the live model before preparing full figures. Only when they had mastered sketching were they permitted to work in oils. They were also taught to draw clearly and correctly before consideration of tonal qualities. In his school, the floor sloped so that students had the fullest view of the model from the rear of the room. Students sat around any model in order of seniority, with the more senior students towards the rear so that they could draw the full figure, while the more junior members sat towards the front and concentrated on the bust or other part of the anatomy. '', 1872, popularized the "thumbs down" gesture; Gérôme's Vestal virgins appear especially bloodthirsty. Phoenix Art Museum. According to John Milner, who studied with Gérôme, his atelier was the most "riotous" and "lewd" of all the studios at Beaux-Arts. Students were treated to bizarre initiation rites which included slashing each other's canvases, throwing students down stairs, out of windows, and onto upturned stools, staging fencing matches on the model's dais, in the nude and with paintbrushes loaded with paint. Gérôme attended every Wednesday and Saturday, demanding punctilious attendance to his instructions. His reputation as a severe critic was well-known. One of his American students, Stephen Wilson Van Shaick, commented that Gérôme was "merciless in judgement" yet possessed a "singular magnetism." Although Gérôme was very demanding of his students, he offered them considerable assistance outside Beaux-Arts, inviting them to his personal studio, making recommendations to the Salon on their behalf, and encouraging them to study with his colleagues. ==Honors and mid-career works==

'' Gérôme was elected, on his fifth attempt, a member of the Institut de France in 1865. Already a knight in the Légion d'honneur, he was promoted to an officer in 1867. In 1869, he was elected an honorary member of the British Royal Academy. The King of Prussia, Wilhelm I, awarded him the Grand Order of the Red Eagle, Third Class. His influence became extensive and he was a regular guest of Empress Eugénie at the Imperial Court in Compiègne. Along with the most eminent French artists, he was invited to the opening of the Suez Canal in 1869. The Execution of Marshal Ney was exhibited at the Salon of 1868. On behalf of Ney's descendants, Gérôme was asked to withdraw the painting, but did not comply. The general reception was very split and the 1868 Salon marked the beginning of a lasting divide between Gérôme and many French art critics, who accused him of relying on literary techniques, of commercialising art, and of bringing politics into art. Henri Oulevay made a caricature where Gérôme is depicted in front of the wall with the art critics as the firing squad. '', 1873, Museum of Fine Arts, Boston In 1872 Gérôme produced Pollice Verso, a painting of bloody gladiators and blood-thirsty Vestal virgins in the Colosseum that became one of his most famous works. Alexander Turney Stewart purchased the painting from Gérôme at a price of 80,000 francs, setting a new record for the artist. Gérôme's imagery of the turned thumb to signal life or death for a fallen gladiator was repeated in a multitude of movies, from the silent era up to and including the 2000 Oscar-winner Gladiator. Gérôme returned successfully to the Salon in 1873 with his painting ''L'Eminence Grise (Museum of Fine Arts, Boston), a colorful depiction of the main stair hall of the palace of Cardinal Richelieu, popularly known as the Red Cardinal (L'Eminence Rouge''), who was France's de facto ruler under King Louis XIII beginning in 1624. In the painting, François Leclerc du Tremblay, a Capuchin friar dubbed ''L'Eminence Grise'' (the Gray Cardinal), descends the ceremonial staircase immersed in reading the Bible while all others either bow before him or fix their gaze on him. As Richelieu's chief adviser, ''L'Eminence Grise'' was called "the power behind the throne," which became the known definition of his title. From approximately 1876 to 1890, Gérôme frequently worked with model Emma Dupont, who posed for several of his works, including Nude (Emma Dupont) (1876), The End of the Sitting (1886), Omphale (1887), Working in Marble, or The Artist Sculpting Tanagra (1890), and Tanagra (1890). ==Sculpture==

, ==Gérôme and Impressionism==

During the last decades of his career, as his own work fell out of fashion, Gérôme was harshly critical of Impressionism. In 1894, he caused a scandal over his opposition to the Caillebotte bequest to the state which eventually became the foundation of the Musée d'Orsay collection. He organized a public demonstration in his atelier and gave interviews to reporters, including these comments published in the journal ''L'Éclair'': The Institut de France cannot remain still before such a scandal...How can the government dare welcome such a collection of inanities into a museum? Why, have you seen the collection? The state, the ward of such junk!... What lessons are our young artists going to receive from now on? They'll all start to do Impressionism! Ah! these people believe they are painting nature, nature so admirable in all its manifestations! What pretension! Nature is not for them! This Monet, do you remember his cathedrals? And that man used to know how to paint! Yes, I've seen good things by him, but now! Similarly he objected to the Manet memorial exhibition at the École des Beaux Arts in 1884. But he did attend the opening, after which he paid Manet the backhanded compliment that the exhibition was "not so bad as I thought." ==Late career: the Pygmalion–Tanagra cycle==

'', marble, 1890, photogravure Goupil c. 1892, Musée d'Orsay Beginning in 1890, Gerome again drew inspiration from the ancient world with an interconnected, slyly self-referential series of paintings and sculptures that depicted Pygmalion and Galatea; the spirit of Tanagra; and himself. In 1890, Gérôme made at least two paintings of the mythical Greek sculptor Pygmalion kissing his statue, Galatea, at the very moment she is transformed from marble into living flesh. The most famous of these paintings titled Pygmalion and Galatea is now in the Metropolitan Museum of Art; it shows the sculptor and his living statue from the rear. A variation (in private hands) shows them from the front. , 1890, Dahesh Museum of Art; Gérôme depicts himself sculpting Tanagra'', likely from model Emma Dupont, Gérôme subsequently created smaller, gilded bronze versions of Tanagra; several versions of the "Hoop Dancer" figurine held by Tanagra (these became "Gérôme's most popular and widely reproduced sculpture"); two paintings of an imaginary ancient Tanagra workshop where copies of his own Hoop Dancer are on display; and two self-portraits of himself sculpting Tanagra from a living model in his Paris atelier, in which a Hoop Dancer and two different versions of Pygmalion and Galatea can be seen in the background. This complex self-portrait has been called "a summation of Gérôme's remarkable career as both painter and sculptor." Gérôme also sculpted a tinted-marble Pygmalion and Galatea (1891) based on his paintings. In this cycle of works, with its exploration of Classical antiquity, creative inspiration, doppelgängers, and female beauty, we see Gérôme "powerfully evoking the continuous interplay between painting and sculpture, reality and artifice, as well as highlighting the inherently theatrical nature of the artist's studio." ==Truth—"This is our Mona Lisa"==

'', 1896, Anne de Beaujeu Museum Beginning in the mid-1890s, in the last decade of his life, Gérôme made at least four paintings personifying Truth as a nude woman, either thrown into, at the bottom of, or emerging from a well. The imagery was inspired by an aphorism of the philosopher Democritus, "Of truth we know nothing, for truth is in a well." Truth Coming Out of Her Well, Armed with Her Whip to Chastise Mankind was exhibited in the Salon du Champ de Mars of 1896. It has been assumed that the painting was a comment on the Dreyfus affair, but art historian Bernard Tillier argues that Gérôme's images of Truth and the well were part of his ongoing diatribe against Impressionism. Gérôme himself invoked the metaphor of Truth and the well in a preface he wrote for Émile Bayard's Le Nu Esthétique, published in 1902, to characterize the profound and irreversible influence of photography: Photography is an art. It forces artists to discard their old routine and forget their old formulas. It has opened our eyes and forced us to see that which previously we have not seen; a great and inexpressible service for Art. It is thanks to photography that Truth has finally come out of her well. She will never go back. In 2012, the Anne de Beaujeu Museum in Moulins, France, which now owns the painting, mounted the exhibition La vérité est au musée ("Truth is at the Museum"), which collected numerous drawings, sketches, and variants made by Gérôme, and by other artists, relating to the painting and its theme. The multiple interpretations of the painting's enigmatic meaning prompted one of the museum's curators to say, "C'est notre Joconde à nous." ("This is our Mona Lisa.") ==Death==

, Vesoul By the end of his life, Gérôme felt very much a man out of his time. In 1903, recalling his first meeting with Charles Jalabert in 1840, he wrote:At that time, Paris had nothing to do with the Paris of today: no railways, no bicycles, no cars; we were less agitated, and certain districts, among others the one we lived in and which we called the Latin Quarter, had a provincial aspect in their calm and tranquility. Now everything is changed; we no longer walk, we run like crazy; if we are not crushed during the day, we have a good chance of being murdered at night. It is charming. We have witnessed the end of a world, we are witnessing the dawn of a new one, which lacks the picturesque and above all serenity. The day is not far off when, through our customs, our ways of being, our love of the dollar (auri sacra fames), we will no longer be French, neither in spirit nor in heart. Horrible to think of! We will be Americans! On 31 December 1903, Gérôme wrote to his student and former assistant Albert Aublet, "I begin to have enough of life. I've seen too much misery and misfortune in the lives of others. I still see it every day, and I'm getting eager to escape this theatre." He was to live just ten more days. He was 79. At his own request, he was given a simple burial service without flowers. But the Requiem Mass given in his memory was attended by a former president of the Republic, most prominent politicians, and many painters and writers. He was buried in the Montmartre Cemetery in front of the statue La Douleur (Pain), which he had cast for his son Jean who had died in 1891. ==Legacy==

Gérôme's legacy lived on through the works of his thousands of students from many countries, including: Odilon Redon, Mary Cassatt, Vasily Vasilyevich Vereshchagin, Stanisław Chlebowski, Ahmed Ali Bey, Henri-Camille Danger and Hosui Yamamoto, and many who traveled to Paris from the United States to study under him, including Thomas Eakins, Edwin Lord Weeks, and Gottardo Piazzoni. , at the Musée d'Orsay Gerald M. Ackerman's revised catalogue raisonné of 2018 lists approximately 700 paintings and 70 sculptures. In the early 1870s Gérôme was known for an astonishing range of visual exotica, all realized in precise, minute detail, achieved with thin layers of paint that revealed nary a brushstroke...His works were particularly sought after by wealthy Americans...Over the course of his career, Gérôme sold to American patrons 144 paintings, nearly a quarter of his production. [A work by Gérôme in the Nob Hill mansion of Leland Stanford was destroyed in the San Francisco earthquake and fire of 1906.] Despite his prodigious output and enormous transatlantic success, most scholarly articles of recent decades cite Gérôme's work as a noxious blend of the trite, the exploitative and the stultifying academic. However, the latest scholarship is re-evaluating Gérôme and his importance in the nineteenth century. A 2010 essay by art historian Mary G. Morton...points out that, contrary to most twenty- and twenty-first century perspectives...Americans [in the 1800s] found Gérôme's paintings complex, edifying and completely modern. His well-researched and minutely detailed images of gladiator combats, chariot races, slave markets, and many other subjects from the ancient world created an indelible impression on popular culture. in Stockton, California, using detail from Gérôme's The Standing Bearer, Unfolding the Holy Flag (1876) His ethnographic imagery of Arab and Islamic culture, controversial in his own lifetime, is now even more closely scrutinized, as is his penchant for female nudity; modern critics raise issues of "cultural appropriation" and "sexual exploitation". These issues of sex and race were epitomized by the use in 2019 of his painting The Slave Market in an anti-Muslim campaign poster by the right wing populist party, Alternative for Germany, to the consternation of the American museum that owns the painting. "They want to take it back and have it for themselves," says art historian Emily M. Weeks. Egyptian industrialist and art collector Shafik Gabr sees Gérôme and other Orientalist painters as "intrepid early globalists who put themselves at risk to document a new world opened by Napoleon Bonaparte's Egyptian expedition from 1798 to 1801...'I have been inspired by these painters...These people traveled under very difficult circumstances with no knowledge of what to expect. They didn't travel to conquer or find oil. They traveled to discover and to understand.'" As with other painters of Classical Realism and Academic art of the 19th century, Gérôme's prestige and popularity sharply declined in the 20th century; his painting The Snake Charmer, which sold for $19,500 in 1888, sold for $500 in 1942. Now his works are once again sought after in the international art market. In 2008, his painting Femme circassienne voilée or Veiled Circassian Beauty (1876) was auctioned for 2,057,250 GBP; it now belongs to the Qatar Museums Authority in Doha. In 2019, his painting The Harem in the Kiosk (c. 1870–1875) realized 2,655,000 GBP at auction, and his painting Riders Crossing the Desert (1870) realized 3,135,000 GBP. The most wide-ranging single collection of Gérôme's work may be the several rooms dedicated to displaying his paintings and sculptures at the Musée Georges-Garret in the artist's hometown of Vesoul. Gérôme donated several works to the museum during his lifetime, and his heirs donated more works after his death. In August 2022 the painting known as Arab at Prayer was investigated in the BBC series Fake or Fortune?. Dated 1858 and with Gérôme's signature, the work was downgraded to 'Circle of Gérôme' in the 1980s by leading authority Gerald M. Ackerman. Following Ackerman's death in 2016, the painting's owner approached the programme to look into the possibility of re-attribution. After extensive research and technical analysis, the evidence is presented to a new expert, Emily M. Weeks, who finds that the picture was painted by Gérôme. In October 2021, the painting sold for £94,500 (including fees) at a Sotheby's auction in London. ==Gallery (chronological)==

File:Jean-Léon Gérôme, Phryne revealed before the Areopagus (1861) - 01 (cropped).jpg|Phryne Before the Areopagus (detail), 1861, Kunsthalle Hamburg File:Jean Léon Gérôme - The Tryst (exterior).jpg|The Tryst (exterior), after 1840, Saint Louis Art Museum File:Jean Léon Gérôme - The Tryst (interior).jpg|The Tryst (interior), after 1840, Saint Louis Art Museum File:Saint Vincent de Paule - Gerome.jpg|Saint Vincent de Paul, 1847, Musée Georges-Garret, Vesoul File:Gerome--Armand-Gerome--artists-brother--1848.jpg|Portrait of Claude-Armand Gérôme (brother of the artist), 1848, The National Gallery, London File:Portrait of Claude-Armand Gérôme by Jean-Léon Gérôme.jpg|Portrait of Claude-Armand Gérôme c.1848, Fitzwilliam Museum File:Gérôme--The The Virgin the Infant Jesus and Saint John--1848--private collection.jpg|The Virgin, the Infant Jesus and Saint John, 1848, private collection File:Anachréon Bachus et l' Amour by Gerome.JPG|Anacreon, Bacchus, and Eros, 1848, Musée des Augustins File:Jean Léon Gérôme - Portrait of a Woman - 1964.338 - Art Institute of Chicago.jpg|Portrait of a Woman, 1848, Art Institute of Chicago File:Jean-leon gerome 1848-1849 la republique.jpg|La République, 1848–1849, Petit Palais, Paris File:Jean-Léon Gérôme-portrait of a Lady-1849.jpg|Portrait of a Lady, 1849, Musée Ingres File:Gerome-Michelangelo-Belvedere Torso-1849-Dahesh.jpg|Michelangelo Being Shown the Belvedere Torso, 1849, Dahesh Museum of Art File:Grecian-Interior,-Le-Gynecee-large.jpg|Gynaeceum or ancient Greek Interior, 1850 File:Une ame emportée par un ange - Gerome.jpg|A Soul Carried Away by an Angel, 1853, Musée Georges-Garret, Vesoul File:Gerome - An Idyll, 1852.jpg|The Idyll, 1852, Musée Massey File:Gérôme, Achat d'une esclave, 1857 (5613508015).jpg|Buying a Slave, 1857; provenance discussed by Sarah Lees File:Jean-Léon Gérôme - Moorish bath.jpg|Moorish Bath, (1870), Museum of Fine Arts, Boston File:Jean-Léon Gérôme - Riders Crossing The Desert (1870) HQ.jpg|Riders Crossing the Desert, (1870), private collection File:Jean-Léon Gérôme - The Harem in the Kiosk (1870) (Sotheby's) 099l1905-b9ddk.jpg|The Harem in the Kiosk, c. 1870–1875, private collection File:Prayer in the Mosque.jpg|Prayer in the Mosque, 1871, Metropolitan Museum of Art File:Jean-Léon Gérôme - The Slave Market - Google Art Project.jpg|The Slave Market, 1871, Cincinnati Art Museum File:Jean-Léon Gérôme - Rider and his Steed in the Desert (1872).jpg|Rider and his Steed in the Desert, 1872, private collection File:Jean-Léon Gérôme - Pool in a Harem.jpg|Pool in a Harem, 1876, Hermitage Museum File:Gérôme--Femme circassienne voilée--Veiled Circassian Beauty--1876.jpg|Femme circassienne voilée, 1876, Qatar Museums Authority File:Gerome--Haggin--Unfolding-the-Holy-Flag.jpg|The Standing Bearer, Unfolding the Holy Flag, 1876, Haggin Museum File:Jean Léon Gérôme - Chariot Race - 1983.380 - Art Institute of Chicago.jpg|Chariot Race, 1876, Art Institute of Chicago File:Réception du Grand Condé à Versailles (Jean-Léon Gérôme, 1878).png|Reception of the Grand Condé at Versailles, 1878, Musée d'Orsay File:Gerome The Gladiators bronze 1878--photogravure Goupil c1892.jpg|The Gladiators, bronze, 1878, photogravure Goupil c. 1892 File:Jean-Léon Gérôme - Le charmeur de serpents.jpg|The Snake Charmer, c. 1879, Clark Art Institute File:J.L. Gerome - The Wailing Wall - Google Art Project.jpg|The Wailing Wall, 1880, Israel Museum File:Gérôme - Cave Canem.jpg|Cave Canem, 1881, Musée Georges-Garret File:Arnaut and his dog by Jean Leon gerome.jpg|''Arnaut Blowing Smoke in His Dog's Nose'', 1882, private collection File:Jean-Léon Gérôme - The Tulip Folly - Walters 372612.jpg|The Tulip Folly, 1882, Walters Art Museum File:Jean-Léon Gerôme, The Grief of the Pasha, 1882, Joslyn Art Museum, Omaha.jpg|The Grief of the Pasha, 1882, Joslyn Art Museum File:The Christian Martyrs' Last Prayer GA&C.jpg|''The Christian Martyrs' Last Prayer'', 1883, Walters Art Museum File:Gerome--Haggin--Saddle-Bazaar.jpg|The Saddle Bazaar, Cairo, 1883, Haggin Museum File:Gérôme, The Two Majesties 1883.jpg|The Two Majesties, 1883, Milwaukee Art Museum File:Jean-Léon Gérôme - Slave Market in Rome - WGA8652.jpg|Slave Market in Ancient Rome, c. 1884, Hermitage Museum File:Jean Leon Gerome Selling Slaves in Rome.jpg|A Roman Slave Market, c. 1884, Walters Art Museum File:Jean-Léon Gérome - Le bain (1880-85).jpg|The Bath, 1880–1885, Legion of Honor, San Francisco File:Jean-Léon Gérôme 007.jpg|The Great Bath at Bursa, 1885, private collection File:Bonaparte ante la Esfinge, por Jean-Léon Gérôme.jpg|Bonaparte Before the Sphinx, aka Œdipe, 1886, Hearst Castle File:The end of the pose, by Jean-Léon Gérôme.jpg|The End of the Session, 1886, private collection File:Jean-Léon Gérôme 015 Carpets.jpg|The Carpet Merchant, c. 1887, Minneapolis Institute of Art File:Jean-Léon Gérôme - Tiger on the Watch - Google Art Project.jpg|Tiger on the Watch, c. 1888, Museum of Fine Arts, Houston File:Lion tentant de saisir un papillon.jpg|Lion Snapping at a Butterfly, 1889, Carnegie Museum of Art File:Gerome venus.jpg|The Birth of Venus, 1890, private collection File:Jean-Léon Gérôme--La Danse pyrrhique--sothebys--2020.jpg|La Danse Pyrrhique, c. 1890, private collection File:Interior of a Mosque.jpg|Interior of a Mosque, c. 1890, Memorial Art Gallery, Rochester, NY File:Jean-Léon Gérôme, Pygmalion and Galatea, ca. 1890.jpg|Pygmalion and Galatea, 1890, Metropolitan Museum of Art File:Gerome pygmalion-galatee.jpg|Pygmalion and Galatea, c. 1890 File:Prayers in the Mosque by Jean-Léon Gérôme, 1892.jpg|Prayers in the Mosque, 1892, private collection File:Gérôme - Painting Breathes Life into Sculpture v1.jpg|The Antique Pottery Painter: Sculpturæ vitam insufflat pictura (painting breathes life into sculpture), 1893, Art Gallery of Ontario File:Gérôme - Painting Breathes Life into Sculpture.jpg|Tanagra Workshop, 1893, private collection File:Jean-Léon Gérôme--Hoop Dancer--before 1895--Haggin Museum--Stockton-CA.jpg|Hoop Dancer, c. 1890, Haggin Museum, seen in his painting The Artist and His Model File:Gerome--Haggin--The-Artist-and-His-Model.jpg|The Artist and His Model, 1895, Haggin Museum; Gérôme depicts himself sculpting Tanagra File:Gerome Sarah Bernhardt Musee d'Orsay.jpg|Sarah Bernhardt, marble, c. 1895, Musée d'Orsay File:Leda and the Swan by Jean-Leon Gerome.jpg|Leda and the Swan, 1895 File:Gerome Veritas 1895.jpg|Mendacibus et histrionibus occisa in puteo jacet alma Veritas, 1895, location unknown File:Gérôme - La Vérité au fond d'un puits.jpg|Truth at the Bottom of a Well, study for a painting of 1895, Musée Georges-Garret, Vesoul File:Gerome verite lyon.jpg|Truth Is at the Bottom of the Well, 1895, Musée des beaux-arts de Lyon File:EB1911 Plate VII. v24, pg.508, Fig 6.jpg|Bonaparte Entering Cairo, 1897 File:Gérôme - L'entrée du Christ à Jérusalem - cadre.jpg|Entry of the Christ at Jerusalem, 1897, Musée Georges-Garret, Vesoul File:The Hookah Lighter.jpg|The Hookah Lighter, 1898, Khanenko Museum File:Jean-Léon Gérôme, The Story of Anacreon 1--Cupid at the Door in a Rainstorm, c 1899.jpg|The Story of Anacreon 1: Cupid at the Door in a Rainstorm, c. 1899, private collection File:Jean-Léon Gérôme, The Story of Anacreon 2--Young Love's Shivering Limbs the Embers Warm, c 1899.jpg|''The Story of Anacreon 2: Young Love's Shivering Limbs the Embers Warm'', c. 1899, private collection File:Jean-Léon Gérôme, The Story of Anacreon 3--Cupid Runs out the Door, c1899.jpg|The Story of Anacreon 3: Cupid Runs out the Door, c. 1899, private collection File:Jean-Léon Gérôme, The Story of Anacreon 4--The Poet Dreams of Cupid by the Fire, c 1899.jpg|The Story of Anacreon 4: The Poet Dreams of Cupid by the Fire, c. 1899, private collection File:Jean-Leon Gerome - Souvenir of Acheres (1903).jpg|Souvenir of Achéres, 1903, Columbus Museum of Art ==Images of Gérôme==

File:Jean-Léon Gérôme--self-portrait--c-1884--Eskenazi Museum--Bloomington.jpg|Jean-Léon Gérôme, self-portrait c. 1844, Eskenazi Museum of Art at Indiana University File:Giraud, caricature of Jean-Léon Gérôme.jpg|Eugène Giraud, caricature of Gérôme, between 1858 and 1870 File:Bingham - Jean-Léon Gérôme 01.jpg|Robert Jefferson Bingham, portrait of Gérôme, between 1860 and 1875 File:Gérôme by Carpeaux Ny Carlsberg Glyptotek MIN1493.jpg|Jean-Baptiste Carpeaux, Bust of Jean-Léon Gérôme, after 1871, Ny Carlsberg Glyptotek, Copenhagen File:Jules-Clément Chaplain--Gérôme medal--1885--Metropolitan Museum.jpg|Jules-Clément Chaplain, Jean-Léon Gérôme medal, 1885, Metropolitan Museum of Art File:Jean-Léon Gérôme - Self-Portrait - WGA08651.jpg|Self-portrait, 1886, Aberdeen Art Gallery File:Jean-Léon Gérôme in his studio.jpg|Jean-Léon Gérôme in his Paris studio, c. 1885–1890 File:Cormon - Le Sculpteur au travail.jpg|Fernand Cormon, The Sculptor at Work, 1891, Musée Georges-Garret, Vesoul File:Léopold Bernstamm - J.L. Gérôme polychromant Tanagra.jpg|Léopold Bernhard Bernstamm, Gérome painting a hoop dancer, 1897, Musée Georges-Garret, Vesoul File:Portrait of Jean-Léon Gérôme (1902), by Pascal Dagnan-Bouveret.jpg|Pascal Dagnan-Bouveret, Portrait of Jean-Léon Gérôme, 1902, Palace of Versailles, Paris File:Self-portrait-painting-the-ball-player jean-leon-gerome.jpg|Self-portrait, painting The Ball Player, 1902, Musée Georges-Garret, Vesoul File:Aimé Morot - Tête de Jean-Léon Gérôme.jpg|Aimé Morot, bronze head of Jean-Léon Gérôme, 1909, Musée Georges-Garret, Vesoul ==See also==

References Sources • • • • Bayard, Émile; preface by Jean Léon Gérôme. Le Nu Esthétique. Paris: Bernard, 1902. • • Benezit E. - Dictionnaire des Peintres, Sculpteurs, Dessinateurs et Graveurs - Librairie Gründ, Paris, 1976; (in French) • Laurence des Cars, Dominque de Font-Rélaux and Édouard Papet (ed.), The Spectacular Art of Jean-Léon Gérôme (1824–1904), Getty Museum and Musée d'Orsay, 2010. • Chisholm, Hugh, ed. "Gérôme, Jean Léon," Encyclopædia Britannica (11th ed.). Cambridge University, 1901. • Garvey, Dana M. Edwin Lord Weeks: An American Artist in North Africa and South Asia, dissertation, University of Washington, 2013. • Gérôme, Jean-Léon (1903). Preface to ''Charles Jalabert: l'homme, l'artiste, d'après sa correspondance'' by Émile Reinaud. Paris: Hachette, 1903, pp. 5–7. • Hering, Fanny Field; introduction by Augustus St. Gaudens. Gérôme: The Life and Works of Jean-Léon Gérôme. New York, Cassell Publishing Company, 1892. • Lees, Sarah. 2012. "Jean-Léon Gérôme: Slave Market". In Nineteenth-century European Paintings at the Sterling and Francine Clark Art Institute, edited by S. Lees. 359–363. Williamstown, Mass: Sterling and Francine Clark Art Institute. • • Moreau-Vauthier, Charles. Gérôme: peintre et sculpteur (in French). Hachette, 1906. • Nochlin, Linda. 1983. "The Imaginary Orient". Art in America 71(5): 118–31, 187–91. • O'Sullivan N. ''Aloysius O'Kelly: Art, Nation, Empire'', Field Day Publications, 2010. • Scott C. Allan and Mary Morton (ed.), Reconsidering Gérôme, Los Angeles: J. Paul Getty Museum, 2010, in: Art Bulletin 94 (2012), No. 2, pp. 312–316 • Toledano, Ehud R. 1998. Slavery and Abolition in the Ottoman Middle East. Seattle/London: University of Washington Press. • Turner, J. – Grove Dictionary of Art – Oxford University Press, USA; new edition (January 2, 1996); • ==External links==