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  3. Feeding Ducks
Feeding Ducks, François Bocion, ca. 1850
François Bocion, PorträtFrançois Bocion1828–1890

Feeding Ducks

ca. 1850 · Oil painting · 36.5 × 28 cm

Über das Gemälde

François Bocion (1828-1890) was born in Lausanne. He first trained with Christian Gottlieb Steinlen (1779-1847) in Vevey and subsequently with François Bonnet (1811-1894) in Lausanne. In Paris in 1845, Bocion entered the atelier of Louis-Aimé Grosclaude (1784-1869) and later that of Charles Gleyre (1806-1874) and befriended Gustave Courbet (1819-1877) and other important exponents of the Realist movement. Back in Lausanne in 1849 he became a teacher at the Ecole moyenne et industrielle of Lausanne, a position he held until his death. At the same time, he had an extensive output with several travels abroad. He exhibited in Paris, Vienna, Anvers, London and was a founder member of the Swiss society of watercolorists (1884).

Weiterlesen

This painting presents a genre scene composed of small figures and a house of remarkable architecture, slightly reminiscent of medieval construction. Bocion, who started as a history painter, may therefore have executed this composition fairly early in his career. The rustic subject matter is also characteristic of the Realist and Naturalist approach emerged in the 1840s in France. After the 1850s, Bocion focused on the depiction of scenes by the Lake Leman, which became a recurrent thematic of his oeuvre.

Victoria and Albert Museum

Angaben

ca. 1850
18281890
Inventarnummer
1585-1869

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Geprüft
vor 13 Tagen
Unverändert seit
25. Sept. 2026
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Das Museum
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Was es zeigt

CourtyardFarmFiguresDucks

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GemäldeÖlRealismus19. JahrhundertSwiss SchoolLausanne

Quellen

  • Victoria and Albert Museum
  • Bild: Victoria and Albert Museum — © Victoria and Albert Museum, London
Fishing, François Bocion, 1855

Fishing

1855 · Victoria and Albert Museum

Lake Scene, François Bocion, mid 19th century

Lake Scene

mid 19th century · Nicht ausgestellt · Victoria and Albert Museum

Ladies in conversation: an 18th century costume piece, François Bocion, 1848

Ladies in conversation: an 18th century costume piece

1848 · Nicht ausgestellt · Victoria and Albert Museum

The Embarkation: an 18th century costume piece, François Bocion, 1848

The Embarkation: an 18th century costume piece

1848 · Nicht ausgestellt · Victoria and Albert Museum

Bird catching, François Bocion, 1850s

Bird catching

1850s · Nicht ausgestellt · Victoria and Albert Museum

Hauling the boat, François Bocion, 1850-1855

Hauling the boat

1850-1855 · Nicht ausgestellt · Victoria and Albert Museum

Sailing Boat, François Bocion, ca. 1855

Sailing Boat

ca. 1855 · Nicht ausgestellt · Victoria and Albert Museum

A Barge, François Bocion, 1855

A Barge

1855 · Nicht ausgestellt · Victoria and Albert Museum

Bird of Paradise, Hashimoto Chitaka, 2026

Hashimoto Chitaka

Bird of Paradise, 2026

Torsion 2, Taruma Shoko, 2025

Taruma Shoko

Torsion 2, 2025

Fu, Someya Satoshi, 2025

Someya Satoshi

Fu, 2025

Bow Before the Curtain Falls, 2024

Bow Before the Curtain Falls, 2024

Summer, 2024

Summer, 2024

Red Flow, Ishizuka Genta, 2024

Ishizuka Genta

Red Flow, 2024

3D replica of Michelangelo's Prisoner (4117-1854), Factum Arte, 2024

Factum Arte

3D replica of Michelangelo's Prisoner (4117-1854), 2024

Sculpture, ‘Co-Existence – the Man and the Monkey’, Zhao Lin, 2024

Zhao Lin

Sculpture, ‘Co-Existence – the Man and the Monkey’, 2024

I sat for decades at morning breakfast tea looking out my kitchen window, one day recognized my own world the familiar backyard, a giant wet brick-walled undersea Atlantis garden, waving ailanthus (“stinkweed”) “Trees of Heaven,” with chimney pots along Avenue A topped by Stuyvesant Town apartments’ upper floors two blocks distant on 14th Street, I focus’d on the raindrops along the clothesline. “Things are symbols of themselves,” said Chögyam Trungpa Rinpoche. New York City August 18, 1984, Allen Ginsberg, 1984

Allen Ginsberg

I sat for decades at morning breakfast tea looking out my kitchen window, one day recognized my own world the familiar backyard, a giant wet brick-walled undersea Atlantis garden, waving ailanthus (“stinkweed”) “Trees of Heaven,” with chimney pots along Avenue A topped by Stuyvesant Town apartments’ upper floors two blocks distant on 14th Street, I focus’d on the raindrops along the clothesline. “Things are symbols of themselves,” said Chögyam Trungpa Rinpoche. New York City August 18, 1984, 1984

Nicht ausgestellt · National Gallery of Art

Man wijst twee andere mannen op de vierde etage, Honoré Daumier, 1852

Honoré Daumier

Man wijst twee andere mannen op de vierde etage, 1852

Rijksmuseum Amsterdam

The Fortress of Königstein: Courtyard with the Magdalenenburg, Bernardo Bellotto, 1756-1758

Bernardo Bellotto

The Fortress of Königstein: Courtyard with the Magdalenenburg, 1756-1758

Nicht ausgestellt · National Gallery of Art

Binnenplaats met planten in potten, Maria van Hohenzollern-Sigmaringen, 1881

Maria van Hohenzollern-Sigmaringen

Binnenplaats met planten in potten, 1881

Rijksmuseum Amsterdam

Binnenplaats, Maria van Hohenzollern-Sigmaringen, 1879

Maria van Hohenzollern-Sigmaringen

Binnenplaats, 1879

Rijksmuseum Amsterdam

Gezicht op een binnenplaats, Maria van Hohenzollern-Sigmaringen, 1874

Maria van Hohenzollern-Sigmaringen

Gezicht op een binnenplaats, 1874

Rijksmuseum Amsterdam

Binnenplaats met overdekte brug, Maria van Hohenzollern-Sigmaringen, 1871

Maria van Hohenzollern-Sigmaringen

Binnenplaats met overdekte brug, 1871

Rijksmuseum Amsterdam

Binnenplaats met planten in potten, Maria van Hohenzollern-Sigmaringen, 1881

Maria van Hohenzollern-Sigmaringen

Binnenplaats met planten in potten, 1881

Rijksmuseum Amsterdam