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| Author's biography |
| French painter. He was apprenticed in Lyon for six years with his brother Jean-Pierre-Xavier Bidauld (1745-;1813), a landscape and still-life painter. Subsequently, they left Lyon to travel together in Switzerland and Provence. In 1783 he moved to Paris, where he met Joseph Vernet (from whom he received valuable advice), Joseph-Siffred Duplessis and Jean-Honoré Fragonard.In 1785 he went to Rome with the assistance of Cardinal de Bernis and his patron, the dealer and perfumer Dulac. He stayed there for five years, travelling through Tuscany, Umbria and Campania and painting such works as Roman Landscape (1788; Basle, Kunstmuseum). Bidauld was closely involved with the circle of FrenchNeoclassicial painters in Rome in the 1780s. He was friendly with Louis Gauffier, Nicolas-Antoine Taunay and especially with Guillaume Lethière, who became his brother-in-law and with whom he occasionally collaborated. On his return to Paris in 1790 he travelled extensively in France, visiting Brittany, the Dauphiné and in particular Montmorency, where he stayed in the Mont-Louis house that had been the home of Jean-Jacques Rousseau.From 1791, when he first showed at the Salon, he sometimes set historical scenes in his more ambitious landscapes, such as the Oedipus untied from a tree by a shepherd (Compiégne, Musée National du Chateau) shown in 1793. It was in this latter year that Bidauld showed what is probably his most ambitious work, the View of the Island of Sora in the Kingdom of Naples (Paris, Louvre). In 1800 he was commissioned by Charles IV of Spain to produce a set of four views (the Seasons) for the latter's Casita del Labrador at the Royal Palace of Aranjuez, where they hang today. With the advent of the Empire Bidauld found himself in the enviable position of being the favourite landscape painter of Napoleon and his family. He produced several large-scale series, these carefully constructed works following the conventions of the ideal landscape established by Claude and reinvented by Valenciennes, but with a light and precision that was the peculiar characteristic of Bidauld.He continued painting his finished works in this highly decorative style under the Restoration, producing two substantial works for the redecorations of the Salle de Diane at Fontainebleau that were shown at the 1822 Salon. Bidauld, however, proved immune to the impact of Constable that so affected the younger generation and by the 1830s his painting style seemed rétardataire. Nonetheless he continued to exhibit at the Salons, showing for the last time in 1841, while a small work dated 1846 demonstrates that he continued his art until his death at the age of eighty-eight. |
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