Eugène ISABEY's guest appearances

Eugène ISABEY

National Gallery of Australia | Audio Tour | French Painting

Edgar Degas

Saint Sebastian

Frédéric Bazille

Hubert Robert

Jules LAURENS

Monsieur Courbet

Paul GUIGOU

Jean RAOUX

Louis GAUFFIER

Simon VOUET

Jean RANC

Alphonse Leroy

Alfred SISLEY

Joshua Commanding

André Vincent

OwlTail

Eugène Isabey was a deeply Romantic painter. His work during the 1820s and 1830s is characterised by a concern with the unpredictable nature of the elements, the response of the individual to nature, and a refined, vigorous application of paint that emphasised the artist’s hand.Storm with a Shipwreck is one of Isabey’s key Romantic seascapes. He depicts the sea as an abstract force that has the power to annihilate man and his work – our attention is drawn to the corpse of a sailor and part of the wreck of his ship in the lower corner. The violent sea and clouds and the dark, ominous rocky outcrop suggest a place of absolute danger. In this way, Isabey invokes the sublime, which was so closely associated with the sea: the sea as a space of imminent threat and an incomprehensible infinitude. Isabey’s application of paint matches the subject of work; each is as theatricalised and energetic as the other.

Eugène Isabey was a deeply Romantic painter. His work during the 1820s and 1830s is characterised by a concern with the unpredictable nature of the elements, the response of the individual to nature, and a refined, vigorous application of paint that emphasised the artist’s hand.<br><br>Storm with a Shipwreck is one of Isabey’s key Romantic seascapes. He depicts the sea as an abstract force that has the power to annihilate man and his work – our attention is drawn to the corpse of a sailor and part of the wreck of his ship in the lower corner. The violent sea and clouds and the dark, ominous rocky outcrop suggest a place of absolute danger. In this way, Isabey invokes the sublime, which was so closely associated with the sea: the sea as a space of imminent threat and an incomprehensible infinitude. Isabey’s application of paint matches the subject of work; each is as theatricalised and energetic as the other.

Eugène ISABEY, Storm with a Shipwreck [La tempête, naufrage] 1835