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Jean-Pierre-Marie Jazet (31 July 1788 – 16 August 1871) was a French engraver known for his etchings, aquatints and mezzotints.

Life

His father was Jean-Marie Jazet, verifier of the crown's buildings, who was mortally wounded in 1793 by an exploding cannon whilst serving in the Paris National Guard, when Jean-Pierre-Marie was only five.^[1] His mother was Jeanne Marquant, sister of Suzanne Marquant, second wife of the painter and engraver Philibert-Louis Debucourt.^[2]^[1]

After his father's death, Jean-Pierre-Marie was raised by his mother's brother Debucourt, becoming one of his best pupils.^[1] For his art, Jazet learned and used burin, aquatint, stipple and etching.^[3] Jean-Pierre-Marie Jazet mainly produced his compositions at night.^[1] He mainly worked on genres favoured by his uncle and sold them to print dealers to help his mother financially. Later, still faithful to his master, he accompanied him until his death - Debucourt, who could no longer work, had spent considerable sums and his nephew helped him to end his life peacefully.^[1]

Jazet began exhibiting in 1817.^[1] He began his peak period two years later with engravings after Jacques-Louis-David's The Coronation of Napoleon, Antoine-Jean Gros's Standing Portrait of général Lassalle, Horace Vernet's The Bivouac of Colonel Moncey and François-Joseph Heim's Distribution of Prizes at the 1824 Salon. His many engravings, particularly those realised after Vernet's works and on subjects from Napoleon I's life and the First French Empire, then his regular exhibiting at the Paris Salon gained him a major reputation.^[3]^[4]

To sell prints drawn from matrices which formed his oeuvre and to keep up and expand his presence in the art market, Jazet was mainly his own editor, working from 71 fauborg Saint-Martin then 7 rue de Lancry.^[3] Next he published via Aumont & Cie and Charles Bance. When his son-in-law Théodore Vibert began working with Adolphe Goupil, Jazet himself published almost exclusively via Goupil Vibert & Cie, then Goupil & Cie after Théodore Vibert's death in 1850. Jazet's commercial policy and foreigners' presence on the Parisian art market allowed his works to be published far beyond France.^[3]^[5]^[6]^[7] He died at Yerres.

Considered for years as one of the best French engravers,^[1] he last exhibited at the 1865 Paris Salon after a major output, principally in aquatint.^[1]^[3] Art criticism early in the 20th century held that he raised that medium to such a level of perfection that it ended up losing its natural expression. His last works were sometimes qualified by a "regrettable weakness".^[1]

Marriage and issue

Jean-Pierre-Marie Jazet married Félicité Moreau.^[2] Their two sons Alexandre-Jean-Louis (born 10 May 1814) and Eugène-Pontus (born 1 May 1816) were both engravers,^[1] whilst their daughter Louise-Georgina (born 29 September 1822) married Théodore Vibert, with whom she had Jean-Georges Vibert and Alice Vibert, the latter marrying Étienne-Prosper Berne-Bellecour.^[8]

Recognition

2nd class medal, 1819^[9]
Knight of the Légion d'honneur, 8 October 1846^[10]

Gallery

Works by Jean-Pierre-Marie Jazet
Marshal Monsey at the barrière de Clichy, after Horace Vernet, musée Carnavalet.
The Death of Napoleon, after Charles de Steuben. (1860)
The Avalanche after Hippolyte Lecomte.
Salon of 1824 after François-Joseph Heim.
Don Quixote with the Shepherds, after Adolph Schroedter. (1845)
Walk in the Turkish Garden, after Jean-Joseph Bastier de Bez, National Gallery of Art.
Returning from the Church, after Hippolyte Lecomte. (1815)
Arabs in their Camp, after Horace Vernet, Musée des Beaux-Arts de Bordeaux.
The Studio of Horace Vernet (Interior of a Studio), after Horace Vernet, (1824), Metropolitan Museum of Art.
Battle between Papal Dragoons and Brigands, after Horace Vernet. (1840)
Rue de Rohan, after Hippolyte Lecomte, (1831), Rijksmuseum, Amsterdam.
Jacques-Louis David in his Studio. after Joseph-Denis Odevear.
A young woman watching from a beach while a rowing boat carr. after Henry Corbould.
Burial of the Martyrs for Liberty, after Joseph Beaume, (1831), Rijksmuseum, Amsterdam.
Defence of the porte Saint-Denis, after Hippolyte Lecomte, (1831), Rikjsmuseum, Amsterdam.
Siege of Antwerp, (1832–1833), after Laurent-Joseph Pelletier, Rijksmuseum, Amsterdam.
The Bad Subject and his Family, after François Grenier de Saint Martin, (1832), Rijksmuseum, Amsterdam.
Study of a Russian horse, after Horace Vernet. (1840)

References

^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j (in French) E. Bénézit, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs & graveurs de tous les temps et de tous les pays, Paris, Ernest Gründ Éditeur, 1924, volume II : p. 716.
^ ^a ^b (in French) État-civil de la ville de Yerres.
^ ^a ^b ^c ^d ^e (in French) "Les Marques de Collections de Dessins & d'Estampes: L.4741". Fondation Custodia.
^ (in French) Fondation Custodia, « Les Marques de Collections de Dessins & d'Estampes: L.4741 »
^ (in French) Edmond de Granges, Dictionnaire du commerce et des marchandises, Paris, Librairie de L. Hachette et Cie, p. 1068 et 1071.
^ (in French) Agnès Penot, La maison Goupil, galerie d'art internationale au XIXe siècle, Le Kremlin-Bicêtre, Mare & Martin, 2016.
^ (in French) Jacques Verger (ed.), La forme des réseaux : France et Europe (xe – xxe siècle), Paris, Editions du Comité des travaux historiques et scientifiques, 2017.
^ (in French) État-civil de la ville de Paris, 9e and 17e arrondissements.
^ (in French) "Salons 1673-1914, salons.musee-orsay.fr".
^ (in French) "Base Léonore".

External links

Media related to Jean-Pierre Marie Jazet at Wikimedia Commons

[:0-1] ^ ^a ^b ^c ^d ^e ^f ^g ^h ⁱ ^j (in French) E. Bénézit, Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs & graveurs de tous les temps et de tous les pays, Paris, Ernest Gründ Éditeur, 1924, volume II : p. 716.

[:1-2] (in French) État-civil de la ville de Yerres.

[:2-3] (in French) "Les Marques de Collections de Dessins & d'Estampes: L.4741". Fondation Custodia.

[4] (in French) Fondation Custodia, « Les Marques de Collections de Dessins & d'Estampes: L.4741 »

[5] (in French) Edmond de Granges, Dictionnaire du commerce et des marchandises, Paris, Librairie de L. Hachette et Cie, p. 1068 et 1071.

[6] (in French) Agnès Penot, La maison Goupil, galerie d'art internationale au XIXe siècle, Le Kremlin-Bicêtre, Mare & Martin, 2016.

[7] (in French) Jacques Verger (ed.), La forme des réseaux : France et Europe (xe – xxe siècle), Paris, Editions du Comité des travaux historiques et scientifiques, 2017.

[8] (in French) État-civil de la ville de Paris, 9e and 17e arrondissements.

[9] (in French) "Salons 1673-1914, salons.musee-orsay.fr".

[10] (in French) "Base Léonore".

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@@ Line 1: / Line 1: @@
+{{Short description|French engraver (1788–1871)}}
 [[File:Jean-Pierre-Marie_Jazet_(1788-1871).jpg|thumb|Jazet by [[Charles Landelle]] (private collection).]]
-'''Jean-Pierre-Marie Jazet''' (31 July 1788 - 16 August 1871) was a French engraver known for his [[etching]]s, [[aquatint]]s and [[mezzotint]]s
+'''Jean-Pierre-Marie Jazet''' (31 July 1788 – 16 August 1871) was a French engraver known for his [[etching]]s, [[aquatint]]s and [[mezzotint]]s.
-died at [[Yerres]]
 ==Life==
-His father was Jean-Marie Jazet, verifier of the crown's buildings, who was mortally wounded in 1793 by an exploding cannon whilst serving in the Paris [[National Guard (France)|National Guard]], when Jean-Pierre-Marie was only five.<ref name=":0">{{in lang|fr}} E. Bénézit, ''Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs & graveurs de tous les temps et de tous les pays'', Paris, Ernest Gründ Éditeur, 1924, volume II : p. 716.</ref> His mother was Jeanne Marquant, sister of Suzanne Marquant, second wife of the painter and engraver [[Philibert-Louis Debucourt]].<ref name=":1">{{in lang|fr}} État-civil de la ville de Yerres.</ref>{{,}}<ref name=":0" />
+His father was Jean-Marie Jazet, verifier of the crown's buildings, who was mortally wounded in 1793 by an exploding cannon whilst serving in the Paris [[National Guard (France)|National Guard]], when Jean-Pierre-Marie was only five.<ref name=":0">{{in lang|fr}} E. Bénézit, ''Dictionnaire critique et documentaire des peintres, sculpteurs, dessinateurs & graveurs de tous les temps et de tous les pays'', Paris, Ernest Gründ Éditeur, 1924, volume II : p. 716.</ref> His mother was Jeanne Marquant, sister of Suzanne Marquant, second wife of the painter and engraver [[Philibert-Louis Debucourt]].<ref name=":1">{{in lang|fr}} État-civil de la ville de Yerres.</ref><ref name=":0" />
 After his father's death, Jean-Pierre-Marie was raised by his mother's brother Debucourt, becoming one of his best pupils.<ref name=":0" /> For his art, Jazet learned and used [[burin (engraving)|burin]], aquatint, [[stipple engraving|stipple]] and etching.<ref name=":2">{{in lang|fr}} {{cite web|publisher=Fondation Custodia|title=Les Marques de Collections de Dessins & d'Estampes: L.4741|url=http://www.marquesdecollections.fr/detail.cfm/marque/12256/total/1}}</ref> Jean-Pierre-Marie Jazet mainly produced his compositions at night.<ref name=":0" /> He mainly worked on genres favoured by his uncle and sold them to print dealers to help his mother financially. Later, still faithful to his master, he accompanied him until his death - Debucourt, who could no longer work, had spent considerable sums and his nephew helped him to end his life peacefully.<ref name=":0" />
-Jazet began exhibiting in 1817.<ref name=":0" /> He began his peak period two years later with engravings after [[Jacques-Louis David|Jacques-Louis-David]]'s ''[[The Coronation of Napoleon]]'', [[Antoine-Jean Gros]]'s ''Standing Portrait of [[Antoine Charles Louis de Lasalle|général Lassalle]]'', [[Horace Vernet]]'s ''The Bivouac of Colonel Moncey'' and [[François-Joseph Heim]]'s ''Distribution of Prizes at the 1824 Salon''. His many engravings, particularly those realised after Vernet's works and on subjects from [[Napoleon I]]'s life and the [[First French Empire]], then his regular exhibiting at the [[Paris Salon]] gained him a major reputation.<ref name=":2" /><ref>Fondation Custodia, [http://www.marquesdecollections.fr/detail.cfm/marque/12256/total/1 « Les Marques de Collections de Dessins & d'Estampes: L.4741] »</ref>
+Jazet began exhibiting in 1817.<ref name=":0" /> He began his peak period two years later with engravings after [[Jacques-Louis David|Jacques-Louis-David]]'s ''[[The Coronation of Napoleon]]'', [[Antoine-Jean Gros]]'s ''Standing Portrait of [[Antoine Charles Louis de Lasalle|général Lassalle]]'', [[Horace Vernet]]'s ''The Bivouac of Colonel Moncey'' and [[François-Joseph Heim]]'s ''[[Charles X Distributing Awards to Artists|Distribution of Prizes at the 1824 Salon]]''. His many engravings, particularly those realised after Vernet's works and on subjects from [[Napoleon I]]'s life and the [[First French Empire]], then his regular exhibiting at the [[Paris Salon]] gained him a major reputation.<ref name=":2" /><ref>{{in lang|fr}} Fondation Custodia, [http://www.marquesdecollections.fr/detail.cfm/marque/12256/total/1 « Les Marques de Collections de Dessins & d'Estampes: L.4741] »</ref>
+To sell prints drawn from matrices which formed his oeuvre and to keep up and expand his presence in the art market, Jazet was mainly his own editor, working from 71 fauborg Saint-Martin then 7 [[rue de Lancry]].<ref name=":2" /> Next he published via Aumont & Cie and [[Charles Bance]]. When his son-in-law [[Théodore Vibert]] began working with [[Adolphe Goupil]], Jazet himself published almost exclusively via [[Goupil & Cie|Goupil Vibert & Cie]], then  Goupil & Cie after Théodore Vibert's death in 1850. Jazet's commercial policy and foreigners' presence on the Parisian art market allowed his works to be published far beyond France.<ref name=":2" /><ref>{{in lang|fr}} Edmond de Granges, ''Dictionnaire du commerce et des marchandises'', Paris, Librairie de L. Hachette et Cie, p. 1068 et 1071.</ref><ref>{{in lang|fr}} Agnès Penot, ''La maison Goupil, galerie d'art internationale au XIXe siècle'', Le Kremlin-Bicêtre, Mare & Martin, 2016.</ref><ref>{{in lang|fr}} Jacques Verger (ed.), ''La forme des réseaux : France et Europe (xe – xxe siècle)'', Paris, Editions du Comité des travaux historiques et scientifiques, 2017.</ref> He died at [[Yerres]].
-<!---
-Pour vendre les estampes tirées des matrices qui constituent son fonds et maintenir sa présence sur un [[marché de l'art]] en pleine expansion, Jean-Pierre-Marie Jazet est tout d'abord son propre éditeur, installé à Paris au 71, faubourg Saint-Martin puis au 7, [[rue de Lancry]] <ref name=":2" />. Il publie ensuite chez Aumont & Cie et avec [[Charles Bance]]. À partir du moment où son gendre [[Théodore Vibert]] s'associe avec [[Adolphe Goupil]], il se fait éditer quasi exclusivement par la maison [[Goupil & Cie|Goupil Vibert & Cie]], puis Goupil & Cie au décès de Théodore Vibert, en [[1850 en France|1850]]. La politique commerciale et la présence à l'international de ce [[marchand d'art]] parisien lui permet une large diffusion hors de France <ref name=":2" />{{,}}<ref>{{Ouvrage|langue=|auteur1=Edmond de Granges|titre=Dictionnaire du commerce et des marchandises|passage=p. 1068 et 1071.|lieu=Paris|éditeur=Librairie de L. Hachette et Cie|date=|pages totales=|isbn=|lire en ligne=https://gallica.bnf.fr/ark:/12148/bpt6k6209218v/f82.item.r=
-https://gallica.bnf.fr/ark:/12148/bpt6k6209218v/f85.item.r=}}</ref>{{,}}<ref>{{Ouvrage|langue=|auteur1=Agnès Penot|titre=La maison Goupil, galerie d'art internationale au XIXe siècle|passage=|lieu=Le Kremlin-Bicêtre|éditeur=Mare & Martin|date=2016.|pages totales=|isbn=|lire en ligne=}}</ref>{{,}}<ref>{{Ouvrage|langue=|auteur1=Jacques Verger (dir.)|titre=La forme des réseaux : France et Europe ({{sp-|X|-|XX}})|passage=|lieu=Paris|éditeur=Editions du Comité des travaux historiques et scientifiques|date=2017.|pages totales=|isbn=|lire en ligne=}}</ref>.
-Considéré pendant des années comme l'un des meilleurs graveurs français <ref name=":0" />, il expose pour la dernière fois au salon de [[1865 en France|1865]] après une production considérable, principalement effectuée à l'aquatinte <ref name=":0" />{{,}}<ref name=":2" />. La critique du début du {{s-|XX}} estime que Jazet a porté cette technique à un tel niveau de perfection qu'il a fini par en perdre son expression naturelle. Ses dernières œuvres sont parfois qualifiées d'une ''faiblesse regrettable'' <ref name=":0" />''.''
+Considered for years as one of the best French engravers,<ref name=":0" /> he last exhibited at the 1865 Paris Salon after a major output, principally in aquatint.<ref name=":0" /><ref name=":2" /> Art criticism early in the 20th century held that he raised that medium to such a level of perfection that it ended up losing its natural expression. His last works were sometimes qualified by a "regrettable weakness".<ref name=":0" />
---->
 ==Marriage and issue==
@@ Line 35: / Line 30: @@
 File:Jean-Pierre-Marie Jazet after Jean Joseph Bastier de Bez, La promenade au Jardin Turc, NGA 2860.jpg|''Walk in the Turkish Garden'', after Jean-Joseph Bastier de Bez, [[National Gallery of Art]].
 File:Le Retour de L'Eglise.jpg|''Returning from the Church'', after Hippolyte Lecomte. (1815)
-File:Bonie-M1492-7656.jpg|''Arabes dans leur camp'', d'après Horace Vernet, [[Musée des Beaux-Arts de Bordeaux]].
+File:Bonie-M1492-7656.jpg|''Arabs in their Camp'', after Horace Vernet, [[Musée des Beaux-Arts de Bordeaux]].
 File:The Studio of Horace Vernet (Intérieur d'un Atelier), 1824 MET DP-13970-001.jpg|''The Studio of Horace Vernet (Interior of a Studio)'', after Horace Vernet, (1824), [[Metropolitan Museum of Art]].
 File:Print copy of horace vernet.jpg|''Battle between Papal Dragoons and Brigands'', after Horace Vernet. (1840)
@@ Line 43: / Line 38: @@
 File:Begrafenis van slachtoffers van de Julirevolutie Inhumation des Martyrs de la Liberté (titel op object), RP-P-1962-359.jpg|''Burial of the Martyrs for Liberty'', after [[Joseph Beaume]], (1831), [[Rijksmuseum Amsterdam|Rijksmuseum]], Amsterdam.
 File:Strijd tijdens de Julirevolutie bij de Porte Saint-Denis Défense de la Porte St. Denis (titel op object), RP-P-1962-358.jpg|''Defence of the porte Saint-Denis'', after Hippolyte Lecomte, (1831), [[Rijksmuseum Amsterdam|Rikjsmuseum]], Amsterdam.
-File:Franse leger op de veroverde lunet van Saint-Laurent, 15 december 1832 Siège D'Anvers. Etablissement sur la Brèche faite à la Lunette St. Laurent (15 Déc.bre 1832), RP-P-1966-413.jpg|''Siege of Antwerp'', (1832-1833), after [[Laurent Joseph Pelletier|Laurent-Joseph Pelletier]], [[Rijksmuseum Amsterdam|Rijksmuseum]], Amsterdam.
+File:Franse leger op de veroverde lunet van Saint-Laurent, 15 december 1832 Siège D'Anvers. Etablissement sur la Brèche faite à la Lunette St. Laurent (15 Déc.bre 1832), RP-P-1966-413.jpg|''Siege of Antwerp'', (1832–1833), after [[Laurent Joseph Pelletier|Laurent-Joseph Pelletier]], [[Rijksmuseum Amsterdam|Rijksmuseum]], Amsterdam.
 File:Misdadiger en zijn familie op de vlucht Le mauvais sujet et sa famille (titel op object), RP-P-1944-3011.jpg|''The Bad Subject and his Family'', after [[François Grenier de Saint-Martin|François Grenier de Saint Martin]], (1832), [[Rijksmuseum Amsterdam|Rijksmuseum]], Amsterdam.
 File:Bashqort.jpg|''Study of a Russian horse'', after Horace Vernet. (1840)
@@ Line 51: / Line 46: @@
 <references />
+==External links==
+*{{commons category-inline}}
 {{DEFAULTSORT:Jazet, Jean Pierre Marie}}
-[[category:1788 births]]
+[[Category:1788 births]]
-[[category:1871 deaths]]
+[[Category:1871 deaths]]
-[[category:French etchers]]
+[[Category:French etchers]]
-[[category:19th-century French engravers]]
+[[Category:19th-century French engravers]]
-[[category:Knights of the Legion of Honour]]
+[[Category:Knights of the Legion of Honour]]