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Barthélemy Menn
Barthélemy Menn (20 May 1815 – 10 October 1893) was a Swiss painter and draughtsman who introduced the principles of ''plein-air'' painting and the ''paysage intime'' into Swiss art.
==Early life==
Menn was born in Geneva as the youngest son of four to Not (Rhaeto-Romance language form for Louis) Menn, a confectioner from Scuol in the canton of Grisons, and Charlotte-Madeleine-Marguerite Bodmer, the daughter of a wealthy farmer from Coinsins in the Canton de Vaud. Already at the age of twelve, Menn took drawing lessons from the little-known Jean Duboi (1789–1849), and later, he entered the drawing school of the Geneva Arts Society. The repeated claim that he was also a pupil of the famous enameller Abraham Constantin (1785–1855) appears to be erroneous. In 1831, Menn was second in the annual drawing competition of the Geneva Art Society. The following year, he entered the studio of the Swiss history painter Jean-Léonard Lugardon (1801–1884), who was a pupil of Baron Gros〔Tripier Le Franc, Histoire de la vie et de la mort du Baron Gros, 2 vols., Paris: Jules Martin, 1880, vol. 2, p. 589. Lugardon was not, as has been repeatedly claimed, a pupil of Ingres, but he knew him from his Italian journey where they met in Florence in 1824〕(1771–1835) and acquainted with Jean-Auguste-Dominique Ingres (1780–1867). There, Menn was educated in figure drawing and composition before heading for Paris, where, in fall 1833, he entered the studio of Ingres. He was, therefore, no beginner when meeting the master, but needed some polishing and refinement in his art. In a letter to his friend Jules Hébert, Menn reported on the new situation: ‘Everybody, even the eldest in the studio tremble before Mr. Ingres. One fears him a lot in such a way that his corrections have a great impact. He is of an extreme sensibility,’〔‘Tout le monde, jusqu’aux plus anciens de l'atelier, tremble devant M. Ingres. On le craint beaucoup, en sorte que ses corrections font beaucoup effet. Il est d'une sensibilité extrème.’ From a letter to Jules Hébert of 2 December 1833, quoted in: Jura Brüschweiler, Barthélemy Menn 1815–1893. Etude critique et biographique, Zurich: Swiss Institute for Art Research, 1960, p. 17.〕 while the education in Ingres’ studio has been described by Théophile Silvestre, as follows: 'The students spend half of their time studying nature and half studying the masters among which they are especially attached to Phidias, the bas-reliefs of the Parthenon, classical sculpture in general.’〔‘Les élèves partageront leur temps entre l'étude de la nature et celle des maîres, s’attachant spécialement à Phidias, aux bas-reliefs du Parthénon, à la sculpture antique en générale.’ Quoted in Théophile Silvestre, Histoire des artistes vivants- Etudes d'après nature – Ingres, Paris: E. Blanchard 1855, p. 16.〕 This explains why among Menn's early works there are many copies after the Parthenon frieze that was accessible in Paris in a set of plaster casts at the École des Beaux-Arts since 1816.〔Marc Fehlmann, ‘Casts & Connoisseurs. The early Reception of the Elgin Marbles’, in: Apollo, Vol. 165, No. 554, June 2007, pp. 44–51.
〕 (Fig. 2). Menn also copied several works by Raffael, Titian (Fig. 3), Veronese and Rubens in the Louvre, and works by Ingres.〔On Menn's copies see Marc Fehlmann and Marie Therese Bätschmann, ‘Menn copiste’, in Genava, No. LVI, 2008, pp. 49–81.〕
When the latter decided to give up his studio to take the post as director of the French Academy in the Villa Medici in Rome, Menn returned to his grandparents in Coinsins before following his master in fall 1834. His journey led him first via Milan to Venice, where he met briefly his compatriot Louis-Léopold Robert (1798–1835), and where he would copy works by Titian and Tintoretto. He then travelled via Padua and Bologna to Florence, where he met old classmates from Ingres’ studio, and arrived finally in Rome in spring 1835. There, Menn copied works by Raphael and Michelangelo, but he also started to produce extraordinary fresh small landscape paintings in the open air. In summer 1836, he visited the Campagna, Capri and Naples, where too he drew and painted landscapes directly from nature, and copied classical antiquities from Pompeii as well as Giovanni Bellini's Transfiguration in the Museo Borbonico. When back in Rome, he produced history - and genre paintings, of which in 1837, he sent 'Solomon presented to Wisdom by his Parents' (Salomon présenté à la sagesse par son père et sa mère; Fig.N) to the annual Salon in Geneva. Menn returned via Florence, Siena and Viterbo to Paris in late 1838, where he exhibited at the Salon from 1839 to 1843, and where he became the drawing master of Maurice Dudevant, the son of George Sand. In her circle, he became acquainted with Eugène Delacroix (1798–1863) who wanted to employ him as an assistant while working on the decoration of the cupola of the library in the Palais du Luxembourg. At the same time, Menn got to know the painters of the Barbizon School, and especially Charles Daubigny (1817–1878). Most importantly, however, Menn became friends with Camille Corot (1796–1875), who, from 1842 onwards, visited Switzerland frequently. It was also in Paris that he became acquainted with members of the Genevan Bovy family who followed the utopian socialist ideas of Charles Fourier.
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