Netherlandish Northern Renaissance Painter, ca.1404-1470 was an Early Netherlandish painter born in Tournai (now in Belgium), where he would spend much of his life. Daret spent 15 years as a pupil in the studio of Robert Campin, alongside Rogier or Rogelet de le Pasture (assumed by scholars to be Rogier van der Weyden, both words meaning "field" or "meadow" in French and Dutch respectively), and afterwards became a master in his own right. He became a favorite of the Burgundian court, and his patron for 20 years was the abbot of St. Vaast in Arras, Jean de Clercq. Though many works of Daret are mentioned in Jean de Clercq's account books, only four panels of Daret's works are known to have survived: all are from the so-called Arras Altarpiece or Saint-Vaast Altarpiece, painted for the abbot between 1433 and 1435. These paintings show a striking resemblance to the Flemish realism of the Master of Flemalle. This is argued by most scholars to be evidence that the Master of Flemalle was Daret's master, Robert Campin. Daret features rather more in the art historical debates over his period than the merit of his work alone would justify because he is relatively well-documented, and in particular can be securely identified as the creator of the altarpiece mentioned above, as well as a pupil of Campin. The stylistic similarity between him and the Master of Flemalle is therefore crucial evidence in the identification of the latter with Campin. This then becomes an important connection in establishing a link between Robert Campin/the Master of Flemalle and his other major pupil,   Related Paintings of DARET, Jacques :. | Altarpiece of the Virgin | Visitation | Altarpiece of the Virgin | Altarpiece of the Virgin dfdsg | Altarpiece of the Virgin inx |
Related Artists:
William Small
British , 1843 - 1929
school of paris or Burgundy
early fifteenth century
Edouard Debat Ponsan
French Academic Painter, 1847-1913 1847-1913.French painter. He trained in Toulouse and later at the Ecole des Beaux-Arts in Paris under Alexandre Cabanel. In 1873 he won second place in the Prix de Rome and in 1874 the Prix Troyon of the Institut. From the Institut he received a bursary that enabled him to visit Italy. In 1870 he made his debut at the Salon under the name Ponsan-Debat and afterwards exhibited there such genre and history paintings as Jephthah's Daughter (1876; Carcassonne, Mus. B.-A.). He also executed religious works, some of which were for churches and cathedrals: he painted St Paul before the Areopagus (1877) for the church at Courbevoie and the Pity of St Louis for the Dead (1879) for the cathedral at La Rochelle. From 1880 Debat-Ponsan was the name under which he exhibited. The Massage (1883; Toulouse, Mus. Augustins) shows a white female nude massaged by a negress, and the subject attracted comment from contemporary critics. He also painted a number of landscapes, including Corner of the Vineyard (1888; Nantes, Mus. B.-A.). These were painted in a style similar to that of Jules Bastien-Lepage and, when they included figures, were often sentimental. His reputation depended, however, on his portraits, which are distinguished by their vigorous colour and precision, as seen in the portrait of Pouyer-Quertier (c. 1885; Rouen, Mus. B.-A.). Most notable was his portrait of General Boulanger (1887; untraced), which was shown at the Salon of 1887 and was accepted in 1889 for the Exposition Universelle in Paris. Amid scandal, Debat-Ponsan withdrew it soon after the opening because he thought that the Exposition was badly organized and his painting was not shown to advantage. He refused the bronze medal awarded it by the jury. In later years, while producing such paintings as Christ on the Mountain (1889; Toulouse, Mus. Augustins), he increasingly responded to contemporary events in his work.