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Lot Essay
A native of Paris, Vibert first studied with his maternal grandfather, the engraver Jean-Pierre- Marie Jazet. He entered the Ecole des Beaux-Arts in 1857 at the age of sixteen and by 1864 had already won a medal at the Salon. A multi-talented figure, Vibert was also a published author, writing for Century Magazine as well as plays for the Palais Royale, Variétés and the Vaudeville. This penchant for the theatre is clearly evident in the artist's oeuvre, and his literary aspirations most certainly fueled his artistic expression.
In 1866, the young Vibert exhibited at the Salon a work done in collaboration with the Spanish-born artist Edouardo Zamacois, Entrance of the Toreadors. Vibert had met the Spanish artist in 1860 and perhaps under his influence traveled several times to Spain. The critic About found the painting 'new and interesting with lively bold coloring' (E. About, Salon de 1866, Paris, 1867, p. 62) and from that point on the artist became a genre painter. He became a master of the small-scale amusing anecdotal scenes which had wide appeal among the sophisticated art patrons of Paris. Proust's Duke of Guermantes says of Vibert, 'The man's got wit to the tips of his fingers.'
In addition to his art, Vibert had a long and active association with the stage and all aspects of theatrical life in Paris. His wife was an actress in the Commédie française. The influence of the theatre upon his painting is evident throughout his oeuvre, and the narrative is always essential to the artistic. The critic Stranahan wrote, 'There is much 'story' in all of Vibert's works,' (C.H. Stanahan, A History of French Painting from its Earliest to Latest Practice, New York 1917, 348) but the story is not always obvious. Fortunately, in his last year the artist published the two-volume La Comedie en peinture in which he documented most of his works and provided explanatory narratives for each.
In 1866, the young Vibert exhibited at the Salon a work done in collaboration with the Spanish-born artist Edouardo Zamacois, Entrance of the Toreadors. Vibert had met the Spanish artist in 1860 and perhaps under his influence traveled several times to Spain. The critic About found the painting 'new and interesting with lively bold coloring' (E. About, Salon de 1866, Paris, 1867, p. 62) and from that point on the artist became a genre painter. He became a master of the small-scale amusing anecdotal scenes which had wide appeal among the sophisticated art patrons of Paris. Proust's Duke of Guermantes says of Vibert, 'The man's got wit to the tips of his fingers.'
In addition to his art, Vibert had a long and active association with the stage and all aspects of theatrical life in Paris. His wife was an actress in the Commédie française. The influence of the theatre upon his painting is evident throughout his oeuvre, and the narrative is always essential to the artistic. The critic Stranahan wrote, 'There is much 'story' in all of Vibert's works,' (C.H. Stanahan, A History of French Painting from its Earliest to Latest Practice, New York 1917, 348) but the story is not always obvious. Fortunately, in his last year the artist published the two-volume La Comedie en peinture in which he documented most of his works and provided explanatory narratives for each.