Barthélemy Menn

Menn worked between 1815 and 1883 across painter and draftsperson. The registers place that work in landscape painting. Every statement below returns to a source shown in the evidence panel; where the record is silent or divided, the article says so instead of resolving it.

Training under Jean-Léonard Lugardon is recorded. Ferdinand Hodler, Henri van Muyden and Jean-Charles Töpffer are recorded as having studied under Barthélemy Menn. The recorded working language is French. Subjects and genres recorded for the work are landscape. Work by Barthélemy Menn is recorded in the collections of Museum of Art and History Geneva, Victoria and Albert Museum, Kunsthaus Zürich and Building of the Winterthur Museum of Art.

• Name — Barthélemy Menn • Born — 20 May 1815 • Birthplace — Geneva, Switzerland • Died — 10 October 1893 • Place of death — Coinsins, Switzerland • Known for — Painting • Training — Geneva Art Society and apprenticeships • Movement — plein air painting and paysage intime • Notable Works — Wetterhorn from Hasliberg

Menn was the youngest of four sons, born in Geneva to Louis John Menn, a confectioner from Scuol in the canton of Grisons, and Charlotte-Madeleine-Marguerite Bodmer, the daughter of a wealthy farmer from Coinsins in the Canton de Vaud. Already at the age of twelve, Menn took drawing lessons from the little-known Jean Duboi (1789–1849), and later, he entered the drawing school of the Geneva Arts Society. The repeated claim that he was also a pupil of the famous enameller Abraham Constantin appears to be erroneous. • Illustration — Farmhouse in Coinsins In 1831, Menn was second in the annual drawing competition of the Geneva Art Society. The following year, he entered the studio of the Swiss history painter Jean-Léonard Lugardon, who was a pupil of Baron Gros and became acquainted with Jean-Auguste-Dominique Ingres. There, Menn was educated in figure drawing and composition before heading for Paris, where, in fall 1833, he entered the studio of Ingres. He was, therefore, no beginner when meeting the master, but needed some polishing and refinement in his art. In a letter to his friend Jules Hébert, Menn reported on the new situation: "Everybody, even the eldest in the studio tremble before Mr. Ingres. One fears him a lot in such a way that his corrections have a great impact. He is of an extreme sensibility." while the education in Ingres’ studio has been described by Théophile Silvestre, as follows: "The students spend half of their time studying nature and half studying the masters among which they are especially attached to Phidias, the bas-reliefs of the Parthenon, classical sculpture in general." This explains why among Menn's early works there are many copies of the Parthenon frieze that had been accessible in Paris as a set of plaster casts at the École des Beaux-Arts since 1816. Menn also copied several works by Raffael, Titian, Veronese and Rubens in the Louvre, and works by Ingres. When the latter decided to give up his studio to take the post as director of the French Academy in the Villa Medici in Rome, Menn returned to his grandparents in Coinsins before following his master in fall 1834. His journey led him first via Milan to Venice, where he met briefly with his compatriot Louis Léopold Robert, and copied works by Titian and Tintoretto. He then travelled via Padua and Bologna to Florence, where he met old classmates from Ingres’ studio, and arrived finally in Rome in spring 1835. There, Menn copied works by Raphael and Michelangelo, but he also started to produce extraordinary fresh small landscape paintings in the open air. In summer 1836, he visited the Campagna, Capri and Naples, where too he drew and painted landscapes directly from nature, and copied classical antiquities from Pompeii as well as Giovanni Bellini's Transfiguration in the Museo Borbonico. • Illustration — Self-portrait When back in Rome, he produced history - and genre paintings, of which in 1837, he sent 'Solomon presented to Wisdom by his Parents' (Salomon présenté à la sagesse par son père et sa mère) to the annual Salon in Geneva. Menn returned via Florence, Siena and Viterbo to Paris in late 1838, where he exhibited at the Salon from 1839 to 1843, and where he became the drawing master of Maurice Dudevant, the son of George Sand. In her circle, he became acquainted with Eugène Delacroix (1798–1863) who wanted to employ him as an assistant while working on the decoration of the cupola of the library in the Palais du Luxembourg. At the same time, Menn got to know the painters of the Barbizon School; especially Charles Daubigny. Most importantly, however, Menn became friends with Camille Corot, who, from 1842 onwards, visited Switzerland frequently. It was also in Paris that he became acquainted with members of the Bovy family of Geneva who were followers of the utopian socialist ideas of Charles Fourier.

• Illustration — Fresco from the Salle des chevaliers, Castle of Gruyères Due to lack of commissions, Menn returned to Geneva, where, in 1844, he applied in vain for a teaching position at the local art school. In the following year, he exhibited a large alpine landscape, "Wetterhorn from Hasliberg", which caused a minor scandal as it did not meet the public's and critics’ expectations of smooth, highly finished, heroic alpine views. This incident did not help much in getting him a public job as professor of painting or drawing. Hence, he started to accept private pupils in his studio. In these years, Menn also experimented together with Jules Darier, another of Corot's friends in Geneva, in producing daguerreotypes, though none of them are known to have been preserved. He also travelled again extensively, this time along the Rhone Valley and to the South of France. It was in these years that he turned completely to the paysage intime (intimate landscape) and achieved similar results to those of Corot, without attaining the latter's impressive level of creativity. In 1850, Menn was appointed director of the Geneva art school and from then on taught figure drawing, rather than landscapes, for 42 years. In this position, he trained two generations of Swiss painters, among them Eugène Burnand, Pierre Pignolat, Edouard Vallet and Ferdinand Hodler, who reputedly said: ‘It is to him [Menn] that I owe everything’. Menn made a second voyage to Rome in 1852 and, in conjunction with Corot, Henri Baron (1816–1885), Armand Leleux (1818–1885) and François-Louis Français, decorated the large salon in Gruyères Castle that then belonged to the Bovy family. Menn also organized three exhibitions with contemporary French painting in Geneva in 1857, 1859 and 1861 that showed works by Corot, Courbet, Daubigny and Delacroix. Yet, the critics in Calvin's hometown were harsh and hostile towards contemporary art, which annoyed Menn so much as that he resolved never to exhibit in public again. He became even reluctant to sell his works privately and finally, in the 1880s, destroyed many of his paintings. In 1865, at the age of fifty, Menn married the widow of his cousin Jean Bodmer, Louise Bodmer-Gauthier (1818–1887), who brought with her a beautiful estate at Coinsins. It is here that Menn found peace and painted most of his last landscapes.

Barthélemy Menn was born on 20 May 1815 in Geneva. Menn held the nationality of Switzerland. Menn studied under Jean-Léonard Lugardon. Menn worked as painter and draftsperson. The fields Menn worked in include landscape painting. Menn worked in French. Menn died on 11 October 1883 in Geneva. Menn is buried at Cemetery of Kings.