Edge Rewrite
location Source code View original
// request.cf · coarse context

A page that knows where it met you.

Only coarse request metadata is shown. This demo does not display or persist visitor IP addresses.

Country
US
Cloudflare location
CMH
Connection
HTTP/2
Language
Not provided

Ray ID: a2853d0ab8e6b40c

Jump to content

Charles Soubre

From Wikipedia, the free encyclopedia

Charles Soubre
Frontal portrait of a young man in a broad beige hat, red scarf, and cream smock, against a mountainous landscape
Self-portrait
Born
Charles Joseph Soubre

(1821-02-04)4 February 1821
Liège, Belgium
Died29 January 1895(1895-01-29) (aged 73)
Liège, Belgium
EducationAcadémie royale des beaux-arts de Liège; Royal Academy of Fine Arts, Brussels
Known forHistory painting
Notable work
  • Death of Henry IV, German Emperor (1850)
  • Victor Pisani (1866)
  • Proud Humility (1871)
  • A Noble Family Before the Council of Troubles (1873)
  • La Måle Saint-Martin (1876)
  • The Departure of the Liège Volunteers for Brussels Led by Charles Rogier (1878)
AwardsGold medal, 1866 Brussels Salon; Knight, Order of Leopold (1879)

Charles Joseph Soubre (4 February 1821 – 29 January 1895) was a Belgian history painter and drawing professor at the Royal Academy of Fine Arts of Liège.

Soubre trained from 1834 in the studio of the landscape painter Jules Van Marcke, then at the Liège academy under Barthélemy Vieillevoye [fr] and Gilles-François Closson, and finally at the Royal Academy of Fine Arts, Brussels. He supported his studies by giving lessons. In 1853 he was appointed professor of drawing at the Liège academy, beginning a teaching career that lasted 35 years. He retired with the title of honorary professor.

Soubre worked primarily as a history painter, drawing subjects from local history and legend, but also produced genre scenes, portraits, landscapes, and female nudes. His major historical canvases include Death of Henry IV, German Emperor (1850), A Noble Family Before the Council of Troubles (1873), La Måle Saint-Martin (1876), and The Departure of the Liège Volunteers for Brussels Led by Charles Rogier (1878). By the end of his life his kind of large-scale historical composition had fallen out of fashion, though his plein air landscapes, marked by balanced composition and decorative synthesis, continued to be valued.

Soubre exhibited extensively: sixteen times at the Brussels Salon between 1839 and 1884, nine times at the Antwerp Salon, ten times at the Ghent Salon, and at international events including the Paris Salon (1861, 1863), the London International Exhibitions (1872–1874), the Vienna World's Fair (1873), the Philadelphia Centennial Exposition (1876), and the Sydney International Exhibition (1879–1880). He received a gold medal at the 1866 Brussels Salon for Victor Pisani and a bronze medal at Sydney.

Biography

[edit]

Early life and training

[edit]

Charles Joseph Soubre was born on 4 February 1821 in Liège.[1][2] His father, Jean Joseph Soubre (1788–1864), was a music dealer;[3] his mother was Marie Françoise Hubertine Thiriard (1791–1861).[1][4][5] His brother Étienne Soubre became a composer.[6]

In 1834 Soubre began studying in the studio of the landscape painter Jules Van Marcke.[7][8] From 1837 to 1843 he attended the Liège Academy of Fine Arts, where his teachers included Barthélemy Vieillevoye [fr], Gilles-François Closson, Lambert Herman, and Auguste Chauvin [fr].[9][10][11] He won first prizes for painting and historical composition there,[7] and supported himself by giving lessons.[7] He completed his training at the Royal Academy of Fine Arts in Brussels.[8][10][11][12]

He exhibited his first landscape in 1837 after a season at Remouchamps with Van Marcke.[7] From 1839 he began showing at the principal Belgian salons, at first sending landscapes: Sunken Lane near Liège at the 1839 Brussels Salon,[13] View of the Banks of the Aîne in the Ardennes at the 1840 Antwerp Salon,[14] and Landscape; Souvenir of the Ardennes at the 1842 Brussels Salon.[15]

Colour painting showing a couple in medieval dress seated at the foot of a tree, holding hands; an elderly man lifts a branch behind them.
The Return from Palestine, 1844 (oil on canvas; 90.5 cm × 74 cm), private collection

In 1844 he exhibited his first historical canvas at the Ghent Salon: The Return from Palestine, depicting a Liège knight's homecoming after the Crusades.[7][16] The work was shown again at the 1845 Brussels Salon.[17]

The Darchis foundation offered him a travel scholarship, but family circumstances prevented him from accepting it. He never left Liège for extended study abroad, instead developing his skills through independent work.[7]

Early career (1845–1854)

[edit]

Soubre increasingly concentrated on historical subjects.[7][10][11] His first notable success came in 1847 with The Burghers of Liège Storming the Home of Mayor Ghaye to Demand the Insignia of the Magistracy.[7]

Book cover: three men in the foreground; the man on the right threatens the man on the left with his sword, while the man in the centre restrains the threatening man's arm.
Georgette Heyer, Pistols for Two, 2005 Arrow Books edition, using Soubre's painting as the cover.

The painting shows an episode from the Liège Revolution: a crowd storms the home of mayor Philippe-François de Ghaye, demanding the keys of the magistracy. When Ghaye refuses, a burgher threatens him with a sword. The chief registrar Cologne intercepts the blow and, though wounded in the leg, saves the mayor.[18] The painting was later used—under the title A Violent Attack[19]—as the cover illustration for Georgette Heyer's short-story collection Pistols for Two (Arrow Books, 2005).[20]

At the 1848 Brussels Salon Soubre showed Henri de Dinant, Liège Tribune Departing for Exile. A review noted that while the colouring was "somewhat commonplace", the composition and drawing were strong, and the costumes historically faithful.[21]

A child lies in a canopy bed with crimson curtains, flanked on the left by two standing women and on the right by a man in profile and a man playing the lute.
The Awakening of Montaigne, 1862 (oil on canvas; 78 cm × 105 cm), private collection

In 1850 he presented Death of Henry IV, German Emperor at the Liège salon.[7] The following year he exhibited The Awakening of Montaigne at the Brussels Salon, which was well received by critics.[22] The painting illustrates an anecdote from Michel de Montaigne's childhood: his father had him wakened each morning by music rather than abruptly, so as not to disturb his young mind.[23] Soubre exhibited the work again at the 1852 Antwerp Salon[24] and produced a smaller second version in 1862, which was sold to a private collector.[25][26] At the 1854 Brussels Salon he showed The Last Boatload of Hay.[27]

In 1853 Soubre married Eugénie Françoise Josephine Cajot.[7] They had two daughters: Françoise (born June 1854)[28][29] and Eugénie (born January 1857).[30][31]

Professorship and mature work (1854–1889)

[edit]

Teaching

[edit]

Soubre was appointed professor of drawing at the Liège academy in August 1853[32] and taught there for over 35 years.[33][10][12][34] He began in the elementary section, teaching linear drawing, replacing Henri Ponchon.[35][36][37]

In 1859 he moved to intermediate teaching, taking over drawing "after the antique" and expression from Auguste Chauvin.[35][38][39][40] When Chauvin retired in 1880, Soubre taught drawing "after the live model" and painting (advanced level) jointly with Jean-Mathieu Nisen for five years, and then exclusively after Nisen's death in 1885.[41][42][43] Adrien de Witte [fr] succeeded him in the intermediate courses.[43][44]

Exhibitions and sales

[edit]
A tall beige manor house with square tower, behind bushes, with a river at the bottom
View of Remouchamps Castle, 1862 (oil on canvas; 26.5 cm × 22 cm), private collection

Alongside teaching, Soubre maintained an active exhibition schedule. He continued to produce historical scenes but also painted landscapes and genre works. In 1855 he showed Angelica and the Enchanted Horse, drawn from Orlando Furioso, at the Antwerp Salon.[45] In 1857 at the Brussels Salon he exhibited Dream of an Arab Chief, Led by the Daughters of the Sea to the Conquest of the Blue Island,[46] inspired by a tale from One Thousand and One Nights.[47] The work was purchased by the Paris publisher Goupil & Cie and engraved by Jean-Baptiste-Alfred Cornilliet [fr], broadening Soubre's reputation.[7][47] At the 1860 Brussels Salon he showed The Madness of Ophelia.[48][49]

A woman in a white smock, seated in profile, hand supporting her face, gazing toward the sea
Sappho on the Promontory of Leucas, c. 1867 (oil on canvas; 40.4 cm × 32.5 cm), private collection[50]

From 1861 onward his exhibition pace quickened, becoming nearly annual for over twenty years. He appeared at the Brussels Salon (1863, 1866, 1869, 1872, 1875, 1878, 1881, 1884), the Antwerp Salon (1864, 1867, 1873, 1876, 1879), the Ghent Salon (1865, 1868, 1871, 1874, 1877, 1880, 1883, 1889), and internationally at the Paris Salon (1861, 1863), the London International Exhibitions (1872, 1873, 1874), the Vienna World's Fair (1873), the Philadelphia Centennial Exposition (1876), the Sydney International Exhibition (1879–1880), and the Historical Exhibition of Belgian Art (1880). He received a gold medal at the 1866 Brussels Salon[51][52] and a bronze medal at Sydney.[53] He was made a knight of the Order of Leopold on 7 February 1879.[54][55]

Two women: one awakens in a canopy bed, the other, richly dressed, gazes at her with hostility
Lady Nottingham and Elizabeth, 1875 (oil on canvas; 89 cm × 116 cm), private collection

Several of Soubre's works were acquired by British collectors.[7] The Awakening of Montaigne, A Burial in the Ardennes, and Lady Macbeth were sold in Dublin; Catherine of Aragon and Cardinal Wolsey, Mary Stuart, Departure for the Hunt, The Banquet of the Beggars, and Lady Nottingham and Elizabeth in London; and a later copy of The Banquet of the Beggars in Manchester.[7] Other works travelled further: Convalescent was sold in Kyiv and Proud Humility in Sydney.[7]

Some paintings remained in Belgian collections: the Execution of Pierre de Bex, Former Mayor of Liège belonged to Baron Rodolphe de Lamberts-Cortenbach;[56] A Noble Family Before the Council of Troubles and The Departure of the Liège Volunteers for Brussels Led by Charles Rogier entered Liège's public collections;[57][58] and La Måle Saint-Martin was acquired by the Belgian royal family.[59]

Engravings and reproductions

[edit]
Black-and-white lithograph of a group around a richly decorated bed in which a dying man turns to a clergyman
Saint Vincent de Paul Attending the Dying Louis XIII, 1861 (lithograph by Pierre Cottin [fr] after Soubre; 71 cm × 101 cm)

Soubre's reputation was extended by engraved and photographic reproductions of his work.[7] His major paintings were reproduced in artistic publications in France, Germany, and England. Engravers who reproduced his work included Charles Baugniet (portrait of M. Du Vivier, 1859),[60] Edmond Fierlants [fr] (photographic reproduction of The Banquet of the Beggars),[61] Émile Tasset [fr] (photogravures for the Franklin Society of Liège album, 1877),[62][63][64] Jean-Baptiste-Alfred Cornilliet,[7] and Pierre Cottin [fr] for the house of Goupil & Cie.[65]

Family

[edit]
An elderly woman in rich golden attire and ermine mantle, seated on a throne, two figures behind her in shadow
Elizabeth I Troubled, 1865–1880 (oil on canvas; 88 cm × 70 cm), Herbert Art Gallery and Museum, Coventry

Soubre's first wife, Eugénie Cajot, died in December 1861.[66][67] On 11 August 1863 he married Marie Christine Wurth (1828–1908), his first wife's niece.[68][69][70] They had two daughters: Madilène Jeanne (known as Madeleine),[71][72] born in March 1865,[73][74] and Marguerite Caroline, born in June 1869, who died at just over a year old.[75][76][77][78][79]

Soubre's eldest daughter, Françoise, married the engineer Albert Battaille on 28 December 1878. Battaille was the son of Jean Battaille, an engineer in the Russian Empire, and Marie Straatman, daughter of the Brussels shipowner Lambert Straatman.[70][80][81] They had three children.[70]

On 26 April 1879, his second daughter Eugénie married the painter Émile Delperée [fr] (born Daxhelet), a former pupil of Soubre's at the academy.[70][82][83][84] They had two children.[70]

His third daughter, Madeleine (1865–1922), became a painter of flowers. She exhibited with her father at the Ghent Salon of 1883[71] and at the 1884 Brussels Salon,[72] and participated in several exhibitions at the Royal Circle of Fine Arts of Liège.[10] In 1898 she married the artillery lieutenant Henri Dupont, who commanded the Meuse fortifications during the defence of Liège in 1914. Dupont was taken prisoner by the Germans in April 1915 and held at Blankenbourg until the Armistice.[85][86]

Final years (1889–1895)

[edit]

Soubre resigned his teaching post on 11 February 1889 and was named honorary professor in recognition of his service.[87] He was replaced in drawing "after the live model" by Adrien de Witte and in painting by his son-in-law, Émile Delperée.[41][87] His former pupils held a celebration in his honour at the academy on 27 June 1889, presenting him with an album of 42 drawings.[88]

Soubre died unexpectedly on 29 January 1895[1][2][54] and was buried in Robermont Cemetery in Liège.[89]

Work

[edit]

Style

[edit]

Charles Soubre was primarily a painter of historical subjects, genre scenes, portraits, landscapes, and female nudes.[10][11][12][90] He is associated with the Romantic movement.[8]

A waterfall in the foreground, a male figure seated on grass; castle ruins and a white house partly masked by vegetation
Landscape with Figures by a Waterfall, 1876 (oil on canvas; 42 cm × 55 cm), private collection

As a landscape painter, Soubre worked en plein air and had a taste for large formats unusual for the period, according to the art critic and museum curator Jules Bosmant.[91] He ranged widely in search of subjects, from Grand-Halleux to the Grand Duchy of Luxembourg. Bosmant considered that Soubre "tended to see broadly, and rather as a decorator concerned with overall effect and balance, than with the truth of atmosphere and milieu".[91] The art historian André Marchal concurred, noting Soubre's "pursuit of balanced masses, an organisation of planes and decorative synthesis".[92]

Veiled and nude women around a basin of water in an opulent interior
Oriental Harem Scene, before 1895 (oil on canvas; 90 cm × 115 cm), private collection

The few nudes Soubre produced late in his career were, in Bosmant's words, "most chaste and quite inoffensive".[93] They were unusual in being set in open-air décors with streams and trees surrounding female figures.[93] When Soubre exhibited these works—considered audacious in provincial Liège at the end of the 19th century—a local newspaper rebuked him for neglecting "the moral duties of a professor at the Academy".[93]

As a history painter, Bosmant wrote, Soubre brought "a serious spirit and gifts as a colourist which, at that time at least, were not negligible", and he drew more from local history and legend than any of his contemporaries.[94] The art historian David Bronze observed that Soubre and his son-in-law Émile Delperée "perpetuate as best they can the tradition of history painting in Liège".[95]

Soubre also produced decorative works. Around 1860 he painted a series of eight murals in the Edmond Hustinx room of the Vrijthof Theatre in Maastricht, personifying the four seasons and the four elements.[96][97][98]

Principal works

[edit]

Death of Henry IV, German Emperor (1850)

[edit]
Black and white photograph: an elderly bedridden man, on whose lap lie a crown, ring, and sword; he gives his hand to a mitred ecclesiastic
Death of Henry IV, German Emperor, 1850 (oil on canvas; 211 cm × 275 cm), La Boverie, Liège

Commissioned by the city of Liège,[7][99] this painting was a success when exhibited at the Liège Salon in 1850.[7] It depicts the final moments of Henry IV, Holy Roman Emperor, who died in Liège on 7 August 1106. Having been deposed and betrayed by his son Henry V, the emperor took refuge in Liège. Surrounded by the few friends who remained loyal, he died forgiving his son and placed the imperial insignia—a ring, a sword, and a crown—in the hands of Otbert, Bishop of Liège.[99] The house on Féronstrée where Henry IV died bears the inscription "Here died Henry IV".[99]

Victor Pisani (1866)

[edit]
A group surrounds a soldier and a doge dressed in an ermine stole; the doge holds a sword pointed downward, facing the soldier upheld by smiling figures
Victor Pisani, 1866 (oil on canvas; 116 cm × 166 cm), private collection

Exhibited at the 1866 Brussels Salon, this painting earned Soubre a gold medal.[51][52] The subject is taken from the history of the Venetian Republic: the admiral Victor Pisani, imprisoned after a setback during the War of Chioggia against Genoa, is released at the demand of the Venetian people when the city itself comes under threat. He takes up his sword once more, swearing to set aside the injustice done to him for the sake of the fatherland.[100]

The Journal des beaux-arts of 30 September 1866 praised the work: "One of the finest episodes in the history of Venice inspired M. Soubre to a fine composition. Pisani forgetting the injustice of his compatriots to save his fatherland is a subject worthy of the artist in question. The admiral is well placed; the gesture by which he clasps ... the hand of a faithful friend placed behind him is very felicitous."[101]

Proud Humility (1871)

[edit]
A richly dressed man kneels like a beggar, holding his head high
Proud Humility, 1871 (oil on canvas; 124 cm × 174 cm), private collection

The painting was shown at the 1871 Ghent Salon[102] and the 1872 London International Exhibition.[103] It illustrates an episode from Canto XI of Dante's Purgatorio: the Sienese nobleman Provenzano Salvani, needing to raise ten thousand florins to ransom a friend held by Charles of Anjou, humbles himself by begging in the great square of Siena.[102][104]

A review in La Meuse on 13 July 1863 described the composition: "In the foreground of the painting the noble Salvani ... is kneeling before the carpet spread out to receive the gifts of passers-by ... Reading in this man's features the nobility of the feelings that animate him, one understands that this is no ordinary beggar, but a great lord."[105] The review noted that a canvas on the same subject, titled Provenzano Salvani Begging for his Friend's Ransom, appeared at the 1863 Brussels Salon.[104] It is unclear whether the 1871 Proud Humility is the same painting or a second version.[25]

A Noble Family Before the Council of Troubles (1873)

[edit]
Black and white photograph: figures around a small table; a soldier in a cuirass stares at a family—a bearded man, kneeling woman, and two children—while a monk behind him stretches out an accusing arm
A Noble Family Before the Council of Troubles, 1873 (oil on canvas; 137 cm × 200 cm), La Boverie, Liège

Soubre exhibited this work at the 1873 Vienna World's Fair[106] and the 1874 London International Exhibition[107] before it was acquired by the city of Liège in 1875.[57][99] Reproductions were made by wood engraving[108] and photogravure.[63][64][109]

The scene is set before the Council of Troubles, the tribunal established by the Duke of Alba to suppress unrest in the Netherlands from 1566. Also known as the Council of Blood, it was responsible for numerous executions; a study published by the Royal Academy of Belgium in 1961 lists 12,302 victims banished or executed between 1567 and 1573.[110][111]

Jules Bosmant considered the painting to be "of a sufficiently broad historical scope to be situated solely in time", representing "a moment of our Western civilisation". He noted that the "very sober composition, in which gestures are rare and measured, in which there is no theatrical effect, does not lack grandeur".[91]

La Måle Saint-Martin (1876)

[edit]
Black and white: a woman in a mantle and light headdress stands on a staircase landing, hand open in a peace gesture toward a group
La Måle Saint-Martin, 1876 (oil on canvas; 135 cm × 108 cm), Royal Collection, Brussels

This painting, which entered the Belgian Royal Collection,[59][112] was sent to the Philadelphia Centennial Exposition of 1876[113] and the 1877 Ghent Salon.[114] It depicts an episode from the 14th-century conflict known as the Måle Saint-Martin: the guilds of Liège, learning that nobles had hidden in houses near St. Hubert, invaded them and killed all those they found. A wealthy woman, Marie de Fooz, saved 150 conspirators hidden in her own house by having the doors opened and welcoming the burghers, urging them to take whatever they needed. Her house was not searched.[114]

The Departure of the Liège Volunteers for Brussels (1878)

[edit]

Shown as The 4th of September 1830 at the 1878 Brussels Salon,[115] the Liège Salon of 1879,[116] and the 1880 Historical Exhibition of Belgian Art,[117] the painting entered the Liège public collections in 1887 through a donation from Mrs Dumont-Lamarche.[58][118]

The work belongs to the body of Belgian Revolution historical painting that celebrated national identity.[119] It shows the evening of 4 September 1830, when Charles Rogier gathered Liège volunteers in the courtyard of the Palace of the Prince-Bishops to march to Brussels and support the insurrection there.[119] Rogier, on horseback, brandishes a standard in the Liège colours of red and yellow bearing the words "Conquer or die for Brussels".[119] The crowd includes notables alongside popular figures such as botteresses (street porters) and street urchins. Behind Rogier, armed men march; in the foreground a young man beats the infantry drum.[119]

The art historian Serge Le Bailly de Tilleghem described the painting as "the last burst of splendour of the grand genre", a belated echo of the pictorial Brabançonne that Gustave Wappers's The September Days had been for the young Belgian nation.[120] The curator Grégory Desauvage noted in 2016 that Soubre "gives the scene an astonishing realism" and that "the faces and the places are rendered with great precision and add to the intensity of the moment".[119][121]

The Royal Museum of the Armed Forces and Military History in Brussels holds a companion painting from 1880, The Arrival of Charles Rogier and the Liège Volunteers in Brussels, which depicts the end of the same journey. It uses an elongated, frieze-like composition typical of military-triumph scenes.[119][122]

Collections

[edit]

Works by Charles Soubre are held by La Boverie in Liège,[99][123] the Museum of Walloon Life,[124] the Royal Museum of the Armed Forces and Military History,[119] the Herbert Art Gallery and Museum in Coventry,[125][126] the Belgian Royal Collection,[59] and various private collections.[7][127]

Critical reception

[edit]

During his lifetime Soubre's work was generally well received by critics and the public.[7][22][48] His obituary in La Meuse in 1895 described his talent as characterised by "the exquisite tact of feeling, the touching harmony between the idea and the interpretation ... Nothing violent or brutal escaped that caressing brush." It acknowledged, however, that the kind of art Soubre represented had fallen out of fashion.[7]

In 1995 the historian Micheline Josse wrote that Soubre's compositions, "very much in the spirit of his time", had been highly prized but "today they are often judged too theatrical".[128] David Bronze, writing in 2001, considered that Soubre's historical works "testify to undeniable qualities as a painter" but "remain very conventional". Bronze found more to admire in Soubre's portraiture, where he showed "real aptitude".[129]

Soubre's plein air landscapes outlasted the decline of his historical painting. The pursuit of balance, organisation, and synthesis in his landscape work continued to be valued long after his death.[91][92]

[edit]

Teaching

[edit]
Frontal portrait of an elderly man with receding hairline and thick grey-and-white beard
Émile Delperée [fr], Portrait of Charles Soubre, c. 1890

At the celebration organised by his former pupils on 27 June 1889, Soubre was presented with a commemorative album of 42 drawings. The presentation address noted that his 36-year teaching career alone would constitute his glory, even were the artist's less brilliant.[130]

Notable pupils

[edit]

Exhibitions

[edit]

During the artist's lifetime

[edit]


To avoid an excessively long listing, only key venues are recorded below. Soubre appeared at the Brussels Salon sixteen times between 1839 and 1884, the Antwerp Salon nine times between 1840 and 1879, and the Ghent Salon ten times between 1844 and 1895. He also exhibited at various Liège salons, the Paris Salon (1861 and 1863), the London International Exhibitions (1872, 1873, 1874), the Vienna World's Fair (1873), the Philadelphia Centennial Exposition (1876), the Sydney International Exhibition (1879–1880), the Historical Exhibition of Belgian Art (1880), and the Royal Circle of Fine Arts of Liège (1893–1895).[90][145] A complete list of his known exhibition appearances follows below; it is compiled primarily from contemporary Salon catalogues and press notices.

Posthumous exhibitions

[edit]
  • 1895: Charles Soubre Retrospective, March–April, Emulation Hall, Liège;[7] Inaugural Exhibition of the Academy of Fine Arts, 15–29 July, rue des Anglais 21, Liège;[189][190][191] 36th triennial exhibition – Ghent Salon, 1 September – 28 October (posthumous showing of the pastel Young Girl at the Fountain).[192]
  • 1955: Romanticism in the Country of Liège, 10 September – 31 October, Museum of Fine Arts, Liège.[193][194]
  • 1964: 125th Anniversary of the Royal Academy of Fine Arts, 11 April – 10 May, Museum of Fine Arts, Liège.[195]
  • 1992: The Royal Circle of Fine Arts of Liège 1892–1992, 18 September – 6 October, Royal Circle of Fine Arts, Liège (catalogue no. 21, Ardennes Landscape).[196]
  • 2001–2002: Towards Modernity: the 19th Century in the Country of Liège, 5 October 2001 – 20 January 2002, Museum of Walloon Art and Saint-Georges Hall, Liège (The Departure of the Liège Volunteers for Brussels Led by Charles Rogier, The Arrival of Charles Rogier and the Liège Volunteers in Brussels, and The Indonesian Woman with the Parasol).[197][121][122]
  • 2012: Spirituality, 9 June – 1 July, Rue des Prémontrés 38, Liège.[198]
  • 2018: Liège School of Landscape (1880–1950), 1 August – 2 September, Fléron;[199] Liège School of Landscape, 27 October – 18 November, Saint-Hubert.[200]
  • 2019: Paintings of Fishing and Rivers, 6–28 July, Chapel of the Sépulcrines, Visé.[201]
  • 2021: June 2021 at the Office… Still More Heintz, 5 June – 4 July, Rue Henri Vieuxtemps 13, Liège (The Beggar Girl).[202]
  • 2024: Quaestus: Art Acquisitions at the Treasury of Liège, 4 July – 6 October, Treasury of Liège Cathedral (The Holy Family, 1862).[203][204]

Awards

[edit]

References

[edit]
  1. 1 2 3 "Death of Charles Joseph Soubre on 30 January 1895 in Liège". Open Archives (in French). Retrieved 13 July 2024.
  2. 1 2 "Charles Soubre (RKD Research)". Netherlands Institute for Art History. Retrieved 17 September 2024.
  3. ↑ "Obituary". La Meuse (in French). Liège. 18 January 1864. p. 3. Retrieved 21 July 2024.
  4. ↑ "No. 254 – Death certificate of Charles Joseph Soubre". FamilySearch. Retrieved 14 August 2024.
  5. ↑ "Civil registry of Liège – death certificate of Marie Françoise Hubertine Thiriard, no. 2098". National Archives of Belgium. Retrieved 17 September 2024.
  6. ↑ "Death of Étienne Joseph Soubre on 9 September 1871 in Liège". Open Archives (in French). Retrieved 15 July 2024.
  7. 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 "Charles Soubre". La Meuse (in French). Liège. 30 March 1895. p. 9.
  8. 1 2 3 4 5 6 Dominique & Quantin 2001, p. 519.
  9. ↑ Somville, Depouhon & Depouhon 1992, p. 82.
  10. 1 2 3 4 5 6 Piron 2003–2006, p. 454.
  11. 1 2 3 4 Josse 1995, p. 918.
  12. 1 2 3 Goijen 2014, p. 564.
  13. 1 2 Exposition nationale des Beaux-Arts : explication des ouvrages de peinture, sculpture, gravure, dessin et lithographie exposés au Salon de 1839 (in French). Brussels: Demortier Frères. 1839. p. 58. Retrieved 20 September 2024.
  14. 1 2 Royal Society for the Encouragement of Fine Arts (1840). Notice des ouvrages, de peinture, sculpture, architecture, gravure et dessin, exécutés par des artistes vivants et exposés au Salon d'Anvers (in French). Antwerp: Imprimerie de H. P. Vander Hey. p. 57. Retrieved 16 July 2024.
  15. 1 2 Exposition nationale des Beaux-Arts : explication des ouvrages de peinture, sculpture, gravure, dessin et lithographie exposés au Salon de 1842 (in French). Brussels: Demortier frères. 1842. p. 77. Retrieved 17 July 2024.
  16. 1 2 Royal Academy of Fine Arts of Ghent (1844). XIXe salon triennal. Notice des ouvrages de peinture, sculpture, architecture, dessin, gravure, lithographie etc. d'artistes vivants: exposés au nouveau Palais de Justice, le 30 juin 1844 (in French). Ghent: D. J. Vanderhaeghen-Hulin. p. 53. Retrieved 17 July 2024.
  17. 1 2 Exposition nationale des Beaux-Arts : explication des ouvrages de peinture, sculpture, gravure, dessin et lithographie exposés au Salon de 1845 (in French). Brussels: Demortier frères. 1845. p. 106. Retrieved 17 July 2024.
  18. ↑ Polain, Mathieu Lambert (1866). Récits historiques sur l'ancien pays de Liège (in French). Brussels: Fr. Gobbaerts. pp. 426–427. OCLC 457973547. Retrieved 25 July 2024.
  19. ↑ "New Arrow Publication – Pistols for Two". Georgette Heyer. Retrieved 25 July 2024.
  20. ↑ Heyer, Georgette (6 October 2005). Pistols for Two. Arrow Books (Penguin Random House UK). ISBN 9780099476382. Retrieved 24 July 2024.
  21. 1 2 Louis Van Rooy; T. Decamps (1848). Revue du Salon de Bruxelles (in French). Brussels: D. Raes. p. 89. Retrieved 16 July 2024.
  22. 1 2 Journal historique et littéraire (in French). Vol. XVIII. Liège: Chez P. Kersten. 1851. p. 203. Retrieved 16 July 2024.
  23. 1 2 Exposition générale des Beaux-Arts: 1851. Catalogue explicatif (in French). Brussels: Imprimerie G. Stapleaux. 1851. p. 119. Retrieved 16 July 2024.
  24. 1 2 Royal Society for the Encouragement of Fine Arts (1852). Exposition nationale: notice des ouvrages, de peinture, sculpture, architecture, gravure et dessin exécutés par des artistes vivants et exposés au Salon d'Anvers (in French). Antwerp: Henri Verberckt, imprimeur-libraire. p. 80. Retrieved 16 July 2024.
  25. 1 2 3 "Fine Arts Exhibition Salon". La Meuse (in French). Liège. 6 June 1862. p. 3. Retrieved 21 July 2024.
  26. ↑ Renier Malherbe (1879). Société libre d'émulation de Liège: Liber memorialis 1779–1879 (in French). Liège: Léon De Thier. p. 140. Retrieved 22 July 2024.
  27. 1 2 Exposition générale des beaux-arts 1854: Catalogue explicatif (in French). Brussels: Imprimerie G. Stapleaux. 1854. p. 104. Retrieved 16 July 2024.
  28. ↑ "Birth of Françoise Élisabeth Soubre on 14 June 1854 in Liège". Open Archives (in French). Retrieved 15 July 2024.
  29. ↑ "No. 1299 – Birth certificate of Françoise Élisabeth Soubre". FamilySearch. Retrieved 14 August 2024.
  30. ↑ "Birth of Eugénie Jeanne Soubre on 28 January 1857 in Liège". Open Archives (in French). Retrieved 15 July 2024.
  31. ↑ "No. 214 – Birth certificate of Eugénie Jeanne Soubre". FamilySearch. Retrieved 14 August 2024.
  32. ↑ Hennebert, Frédéric, ed. (1854). Moniteur de l'enseignement (in French). Vol. IV (September 1853 – May 1854). Tournai: Bureau du Moniteur de l'enseignement. p. 34. Retrieved 23 July 2024.
  33. ↑ "Charles Soubre". Museum of Walloon Life (in French).
  34. ↑ Delaite & Depaire 2019, pp. 88, 108, 257.
  35. 1 2 Delaite & Depaire 2019, p. 88.
  36. ↑ "Liège City Council". Journal de Bruxelles (in French). Brussels. 11 July 1853. p. 3. Retrieved 10 September 2024.
  37. ↑ Bulletin municipal ou recueil des arrêtés et règlements de l'administration communale de Liège (in French). Liège: Dessain. 1854. p. 226. Retrieved 1 October 2024.
  38. ↑ "Miscellaneous". La Meuse (in French). Liège. 15 September 1859. p. 3. Retrieved 21 July 2024.
  39. ↑ "Official acts (extracts from the Moniteur)". Journal de Bruxelles (in French). Brussels. 8 October 1859. p. 1. Retrieved 24 July 2024.
  40. ↑ "Academy of Fine Arts: Biennial competition 1862–1863". La Meuse (in French). Liège. 23 March 1864. p. 2. Retrieved 25 August 2024.
  41. 1 2 Delaite & Depaire 2019, p. 108.
  42. ↑ "Royal Academy of Fine Arts of Liège". La Meuse (in French). Liège. 8 June 1886. p. 3. Retrieved 26 August 2024.
  43. 1 2 "Academy of Fine Arts: Teaching – Appointments". La Meuse (in French). Vol. 32, no. 135. Liège. 8 June 1887. p. 2. Retrieved 22 July 2024.
  44. ↑ "Academy of Fine Arts". La Meuse (in French). Vol. 32, no. 134. Liège. 7 June 1887. p. 2.
  45. 1 2 Royal Society for the Encouragement of Fine Arts (1855). Exposition nationale: notice des ouvrages, de peinture, sculpture, architecture, gravure et dessin exécutés par des artistes vivants et exposés au Salon d'Anvers (in French). Antwerp: Henri Verberckt, imprimeur-libraire. p. 95. Retrieved 17 July 2024.
  46. 1 2 Exposition générale des beaux-arts 1857: Catalogue explicatif (in French). Brussels: Imprimerie de Charles Lelong. 1857. p. 113. Retrieved 16 July 2024.
  47. 1 2 3 "Miscellaneous". La Meuse (in French). Liège. 30 June 1859. p. 3. Retrieved 21 July 2024.
  48. 1 2 3 Journal des beaux-arts et de la littérature (in French). Vol. Second year, no. 18. Brussels: A. Decq. 30 September 1860. p. 144. Retrieved 23 July 2024.
  49. 1 2 Exposition générale des beaux-arts : catalogue explicatif (in French). Brussels: Imprimerie de Charles Lelong. 1860. p. 113. Retrieved 16 September 2024.
  50. ↑ "Miscellaneous: Local news". La Meuse (in French). Liège. 5 February 1867. p. 2. Retrieved 21 July 2024.
  51. 1 2 3 "Appointments". Moniteur belge (in French). No. 280. 7 October 1866. p. 1 (5482).
  52. 1 2 3 Journal des beaux-arts et de la littérature (in French). Vol. Eighth year, no. 19. Brussels: A. Decq. 15 October 1866. p. 152. Retrieved 23 July 2024.
  53. 1 2 "Sydney International Exhibition – 1879". La Meuse (in French). Liège. 20 December 1880. p. 1. Retrieved 21 July 2024.
  54. 1 2 3 "Obituary". La Meuse (in French). 31 January 1895. p. 2.
  55. 1 2 "Appointments". Le Bien public (in French). No. 39. 8 February 1879. p. 3. Retrieved 12 June 2024.
  56. 1 2 Royal Society for the Encouragement of Fine Arts (1867). Exposition nationale: catalogue des ouvrages de peinture, sculpture, architecture, gravure et dessin exécutés par des artistes vivants et exposés au Salon d'Anvers (in French). Antwerp: Imprimerie de J. P. Van Dieren. p. 139. Retrieved 18 July 2024.
  57. 1 2 Malherbe, Renier (1879). Société libre d'émulation de Liège: Liber memorialis 1779–1879 (in French). Liège: Léon De Thier. pp. 149, 159. Retrieved 20 July 2024.
  58. 1 2 Desauvage 2016, p. 148.
  59. 1 2 3 Charles Soubre. "La Mâle Saint-Martin". Belgian Art Links and Tools. Retrieved 25 July 2024.
  60. ↑ "Miscellaneous". La Meuse (in French). Liège. 11 February 1859. p. 2. Retrieved 26 September 2024.
  61. ↑ Bulletin des Commissions Royales d'Art et d'Archéologie (in French). Vol. 9. Brussels: C. Mucquardt. 1870. p. 98. Retrieved 26 September 2024.
  62. ↑ "Photographic reproduction of Le Mal Saint Martin by Charles Soubre, anonymous, after Charles Soubre, c. 1873 – in or before 1878". Rijksmuseum. Retrieved 5 August 2024.
  63. 1 2 "Photographic reproduction of Une Famille de Nobles (Gueux) devant le Conseil de Sang by Charles Soubre, anonymous, after Charles Soubre, c. 1871 – in or before 1880". Rijksmuseum. Retrieved 5 August 2024.
  64. 1 2 "Local news: Franklin Society". La Meuse (in French). Liège. 14 July 1877. p. 2. Retrieved 21 July 2024.
  65. ↑ "Lot 380: 1861 Lithograph Louis XIII and St. Vincent de Paul". Invaluable.
  66. ↑ "Death of Eugénie Françoise Josephine Cajot on 9 December 1861 in Liège". Open Archives (in French). Retrieved 15 July 2024.
  67. ↑ "No. 2660 – Death certificate of Eugénie Françoise Josephine Cajot". FamilySearch. Retrieved 14 August 2024.
  68. ↑ "Miscellaneous". La Meuse (in French). Liège. 12 August 1863. p. 2. Retrieved 21 July 2024.
  69. ↑ "No. 527 – Marriage certificate of Charles Joseph Soubre & Marie Madelène Christine Wurth". FamilySearch. Retrieved 14 August 2024.
  70. 1 2 3 4 5 Jules Mersch (1967). "The WURTH family: The Wurth-Cajot". Luxemburgensia. National biography of the country of Luxembourg (in French). Luxembourg: J. Mersch. p. 190. Retrieved 8 August 2024.
  71. 1 2 Royal Society for the Encouragement of Fine Arts in the city of Ghent (1883). XXXIIe exposition triennale de Gand. Salon de 1883. Notice sur les tableaux et objets d'art exposées au Casino (in French). Ghent: Eug. Vanderhaeghen. p. 140. Retrieved 8 August 2024.
  72. 1 2 3 "The Brussels Salon: Fourth and final article". La Meuse (in French). Liège. 26 September 1884. p. 3. Retrieved 22 July 2024.
  73. ↑ "Birth of Madilène Jeanne Christine Soubre on 20 March 1865 in Liège". Open Archives (in French). Retrieved 15 July 2024.
  74. ↑ "No. 739 – Birth certificate of Madilène Jeanne Christine Soubre". FamilySearch. Retrieved 14 August 2024.
  75. ↑ "Birth of Marguerite Caroline Josephine Françoise Soubre on 7 June 1869 in Liège". Open Archives (in French). Retrieved 15 July 2024.
  76. ↑ "No. 1471 – Birth certificate of Marguerite Caroline Josephine Françoise Soubre". FamilySearch. Retrieved 14 August 2024.
  77. ↑ "Death of Marguerite Caroline Josephine Françoise Soubre on 13 December 1870 in Liège". Open Archives (in French). Retrieved 15 July 2024.
  78. ↑ "Civil registry of Liège". La Meuse (in French). Liège. 13 December 1870. p. 3. Retrieved 21 July 2024.
  79. ↑ "No. 3034 – Death certificate of Marguerite Caroline Josephine Françoise Soubre". FamilySearch. Retrieved 14 August 2024.
  80. ↑ "Marriage of Albert Pierre Joseph Battaille & Françoise Élisabeth Soubre on 28 December 1878 in Liège". Open Archives (in French). Retrieved 15 July 2024.
  81. ↑ "No. 995 – Marriage certificate of Albert Pierre Joseph Battaille & Françoise Élisabeth Soubre". FamilySearch. Retrieved 14 August 2024.
  82. ↑ "Marriage of Émile Daxhelet & Eugénie Jeanne Soubre on 26 April 1879 in Liège". Open Archives (in French). Retrieved 15 July 2024.
  83. ↑ "No. 291 – Marriage certificate of Émile Daxhelet and Eugénie Jeanne Soubre". FamilySearch.
  84. ↑ "Dictionary of Belgian Painters: 1598 Delperée, Émile". Belgian Art Links and Tools (in French). Retrieved 4 August 2024.
  85. ↑ Jules Mersch (1967). "The WURTH family: The Wurth-Cajot". Luxemburgensia. National biography of the country of Luxembourg (in French). Luxembourg: J. Mersch. p. 192. Retrieved 8 August 2024.
  86. ↑ "No. 1378 – Marriage certificate of Henri Félix Eugène Dupont & Madeleine Jeanne Christine Soubre". FamilySearch. Retrieved 14 August 2024.
  87. 1 2 "Local news". La Meuse (in French). Liège. 13 February 1889. p. 2. Retrieved 22 July 2024.
  88. 1 2 "Local news: Soubre celebration". La Meuse (in French). Liège. 27 June 1889. p. 2. Retrieved 22 July 2024.
  89. ↑ Thierry Luthers (2023). Derniers domiciles connus : guide des personnalités enterrées en province de Liège (in French). p. 259. ISBN 978-2-9603349-1-3.
  90. 1 2 3 Somville, Depouhon & Depouhon 1992, p. 83.
  91. 1 2 3 4 Bosmant 1930, p. 93.
  92. 1 2 Marchal 1978, p. 535.
  93. 1 2 3 Bosmant 1930, p. 94.
  94. ↑ Bosmant 1930, pp. 92–93.
  95. ↑ Bronze 2001, p. 61.
  96. ↑ "Theater aan het Vrijthof: Hustinx Stichting". Stichting Edmond Hustinx (in Dutch). Retrieved 25 October 2024.
  97. ↑ Dorrenboom, Susan. "Theater aan het Vrijthof". MUSICO Reizen (in Dutch). Retrieved 25 October 2024.
  98. ↑ "Generaalshuis". Zicht op Maastricht (in Dutch). Retrieved 25 October 2024.
  99. 1 2 3 4 5 Musée des beaux-arts catalogue 1926, p. 69.
  100. 1 2 Exposition générale des beaux-arts 1866: catalogue explicatif (in French). Brussels: Imprimerie de Charles Lelong. 1866. p. 89. Retrieved 16 July 2024.
  101. 1 2 Journal des beaux-arts et de la littérature (in French). Vol. Eighth year, no. 18. Brussels: A. Decq. 30 September 1866. p. 140. Retrieved 23 July 2024.
  102. 1 2 3 Royal Society for the Encouragement of Fine Arts in the city of Ghent (1871). XXVIIIe Exposition nationale et triennale de Gand: salon de 1871 (in French). Ghent: Eug. Vanderhaeghen. p. 106. Retrieved 13 July 2024.
  103. 1 2 London International Exhibition of 1872: Official catalogue, fine arts department. London: J.M. Johnson & Sons. 1872. p. 71. Retrieved 21 July 2024.
  104. 1 2 3 Exposition générale des beaux-arts 1863: Catalogue explicatif (in French). Brussels: Imprimerie de Charles Lelong. 1863. pp. 116–117. Retrieved 16 July 2024.
  105. ↑ "Miscellaneous: Brussels Exhibition". La Meuse (in French). Liège. 13 July 1863. p. 2. Retrieved 26 July 2024.
  106. 1 2 Welt-Ausstellung 1873 In Wien (1873). Officieller Kunst-Catalog (in German). Vienna: Verlag der General-Direction. p. 54. Retrieved 20 July 2024.{{cite book}}: CS1 maint: numeric names: authors list (link)
  107. ↑ London International Exhibition of 1874: Official catalogue. London: J.M. Johnson & Sons. 1874. p. 42. Retrieved 21 July 2024.
  108. ↑ "1874 Wood Engraving Charles Soubre Art Council of Troubles Dutch Revolt". Period Paper Historic Art. Retrieved 23 July 2024.
  109. ↑ "1901 Aquatint Photogravure Charles Soubre Sitting Blood Council Cathol". Period Paper Historic Art. Retrieved 21 July 2024.
  110. ↑ A.L.E. Verheyden, Le Conseil des Troubles. Liste des condamnés (1567–1573), Royal Academy of Science, Letters and Fine Arts of Belgium, Commission royale d'Histoire, Brussels, 1961.
  111. ↑ Deyon, Pierre (1962). "Le conseil des troubles. Liste des condamnés : 1567–1573. Académie Royale de Belgique, 1961". Revue du Nord. 44 (174): 300–301. Retrieved 29 October 2024.
  112. ↑ "Royal Collection". The Belgian Monarchy (in French). Retrieved 25 July 2024.
  113. 1 2 United States Centennial Commission (1876). International Exhibition 1876, Official Catalogue: Department IV – Art. Philadelphia: John R. Nagle. p. 92. Retrieved 21 July 2024.
  114. 1 2 3 Royal Society for the Encouragement of Fine Arts in the city of Ghent (1877). XXXe Exposition triennale de Gand: salon de 1877 (in French). Ghent: Eug. Vanderhaeghen. p. 115. Retrieved 17 July 2024.
  115. 1 2 Exposition générale des beaux-arts 1878: catalogue explicatif (in French). Brussels: Imprimerie de Adolphe Mertens. 1878. p. 122. Retrieved 17 July 2024.
  116. 1 2 "Association for the Encouragement of Fine Arts: Salon of 1879". La Meuse (in French). Liège. 25 April 1879. p. 2. Retrieved 21 July 2024.
  117. 1 2 Historical Exhibition catalogue 1880, p. 87.
  118. ↑ Sabatini & Rémon 2002, p. 115.
  119. 1 2 3 4 5 6 7 Desauvage 2016, p. 149.
  120. ↑ Le Bailly de Tilleghem 2000, p. 362.
  121. 1 2 Dominique & Quantin 2001b, p. 308.
  122. 1 2 Dominique & Quantin 2001c, p. 308.
  123. ↑ "Soubre, Charles — See Photo Library results (BALaT KIK-IRPA)". Belgian Art Links and Tools. Retrieved 15 July 2024.
  124. ↑ Charles Soubre. "Painting depicting the Val Benoît bridge in Liège and six houses near the Nautical Union (collections of the Museum of Walloon Life)". Museum of Walloon Life (in French).
  125. ↑ Charles Soubre. "A Troubled Elizabeth I (Herbert Art Gallery & Museum, Art UK)". Art UK. Retrieved 16 July 2024.
  126. ↑ Charles Soubre. "A Troubled Elizabeth I (Contemplating Signing the Death Warrant of Mary Queen of Scots), 1865–1880 (oil on canvas; 88.0 x 70 cm), Coventry, Herbert Art Gallery and Museum". University for the Creative Arts.
  127. ↑ "Charles Soubre Sold at Auction Prices". Invaluable.
  128. ↑ Josse 1995, pp. 918–919.
  129. ↑ Bronze 2001, p. 62.
  130. 1 2 3 4 5 6 "Local news: Soubre celebration". La Meuse (in French). Liège. 29 June 1889. p. 1. Retrieved 22 July 2024.
  131. 1 2 3 "Academy of Fine Arts: Prize distribution". La Meuse (in French). Vol. 27, no. 87. Liège. 11 April 1882. p. 3.
  132. 1 2 "Academy of Fine Arts: Competition of 1872–1873". La Meuse (in French). Vol. 19, no. 103. 30 April 1874. p. 2.
  133. ↑ Goijen 2014, p. 176.
  134. ↑ Somville, Depouhon & Depouhon 1992, p. 63.
  135. ↑ Charles Delchevalerie (1927). Adrien de Witte: peintre, dessinateur et graveur. Catalogue de son oeuvre précédé d'une notice par Charles Delchevalerie (in French). Liège: Imprimerie Bénard. p. 8. OCLC 31671709.
  136. ↑ "The organising secretary". Edgard D'Hont, le maître de Chênée (in French). Retrieved 7 August 2024.
  137. ↑ Somville, Depouhon & Depouhon 1992, p. 74.
  138. ↑ Somville, Depouhon & Depouhon 1992, p. 76.
  139. 1 2 "Liège Academy of Fine Arts: Biennial prize distribution". La Meuse (in French). Vol. 13, no. 96. Liège. 21 April 1868. p. 3.
  140. ↑ Goijen 2014, p. 496.
  141. ↑ Somville, Depouhon & Depouhon 1992, p. 79.
  142. ↑ "Academy of Fine Arts: Prize distribution (1880)". La Meuse (in French). Vol. 25, no. 129. 1 June 1880. p. 3.
  143. 1 2 "Academy of Fine Arts: Biennial competition 1868–69". La Meuse (in French). Vol. 15, no. 124. Liège. 25 May 1870. p. 5.
  144. ↑ "Liège Academy of Fine Arts: Biennial competition, 1864–1865". La Meuse (in French). Vol. 11, no. 74. 27 March 1866. p. 2.
  145. 1 2 Goijen 2014, p. 565.
  146. ↑ Royal Society for the Encouragement of Fine Arts (1846). Notice des ouvrages, de peinture, sculpture, architecture, gravure et dessin exécutés par des artistes vivants et exposés au Salon d'Anvers (in French). Antwerp: Imprimerie de Henri Verberckt. p. 76. Retrieved 17 July 2024.
  147. ↑ Exposition générale des beaux-arts 1848: catalogue explicatif (in French). Brussels: J.B.J. De Mortier. 1848. p. 92. Retrieved 17 July 2024.
  148. ↑ "La Meuse serial: Fine Arts Exhibition". La Meuse (in French). Liège. 30 May 1860. p. 2. Retrieved 6 October 2024.
  149. ↑ Charles Soubre. "Songe d'un chef arabe, conduit par les filles de la mer à la conquête de l'île Bleue / (Mille et une Nuits)". Musée d'Orsay (in French). Retrieved 7 September 2024.
  150. ↑ Journal des beaux-arts et de la littérature (in French). Vol. Fifth year, no. 9. Brussels: A. Decq. 15 May 1863. p. 66. Retrieved 23 July 2024.
  151. ↑ Charles Soubre. "Saint Vincent de Paul assiste Louis XIII à ses derniers moments". Musée d'Orsay (in French). Retrieved 8 September 2024.
  152. ↑ Charles Soubre. "Saint Vincent de Paul au milieu des filles de la charité". Musée d'Orsay (in French). Retrieved 8 September 2024.
  153. ↑ "Miscellaneous: Brussels Exhibition". La Meuse (in French). Liège. 13 July 1863. p. 2. Retrieved 21 July 2024.
  154. ↑ "Fine Arts Exhibition at the Société d'Émulation de Liège". L'Écho du Parlement (in French). Brussels. 1 April 1864. p. 2. Retrieved 24 July 2024.
  155. ↑ Royal Society for the Encouragement of Fine Arts (1864). Catalogue des ouvrages de peinture, sculpture, architecture, gravure et dessin, exécutés par des artistes vivants, et exposés au salon d'Anvers (in French). Antwerp: Imprimerie de J. P. Van Dieren. p. 143. Retrieved 17 July 2024.
  156. ↑ Journal des beaux-arts et de la littérature (in French). Vol. Sixth year, no. 18. Brussels: A. Decq. 30 September 1864. p. 144. Retrieved 23 July 2024.
  157. ↑ Royal Society for the Encouragement of Fine Arts in the city of Ghent (1865). XXVIe exposition nationale et triennale de Gand. Salon de 1865 : notice sur les tableaux et objets d'arts, exposés au palais de l'université (in French). Ghent: Eug. Vanderhaeghen. p. 61. Retrieved 17 July 2024.
  158. ↑ Journal des beaux-arts et de la littérature (in French). Vol. Seventh year, no. 18. Brussels: A. Decq. 30 September 1865. p. 142. Retrieved 23 July 2024.
  159. ↑ "Miscellaneous: Local news". La Meuse (in French). Liège. 2 November 1867. p. 2. Retrieved 21 July 2024.
  160. ↑ Journal des beaux-arts et de la littérature (in French). Vol. Ninth year, no. 17. Brussels: A. Decq. 15 September 1867. p. 141. Retrieved 23 July 2024.
  161. ↑ Journal des beaux-arts et de la littérature (in French). Vol. Tenth year, no. 14. Brussels: A. Decq. 31 July 1868. p. 109. Retrieved 23 July 2024.
  162. ↑ Royal Society for the Encouragement of Fine Arts in the city of Ghent (1868). XXVIIe exposition nationale et triennale de Gand. Salon de 1868 (in French). Ghent: Eug. Vanderhaeghen. p. 74. Retrieved 16 July 2024.
  163. ↑ Journal des beaux-arts et de la littérature (in French). Vol. Tenth year, no. 18. Brussels: A. Decq. 30 September 1868. p. 132. Retrieved 23 July 2024.
  164. ↑ "Liège Salon of 1869: Eighth article". La Meuse (in French). Liège. 12 May 1869. p. 3. Retrieved 21 July 2024.
  165. ↑ Exposition générale des beaux-arts 1869: catalogue explicatif (in French). Brussels: Imprimerie de Charles Lelong. 1869. p. 106. Retrieved 7 August 2024.
  166. ↑ Exposition générale des beaux-arts 1872: catalogue explicatif (in French). Brussels: Imprimerie de Adolphe Mertens. 1872. p. 82. Retrieved 17 July 2024.
  167. ↑ Royal Society for the Encouragement of Fine Arts (1873). Catalogue des ouvrages de peinture, sculpture, architecture, gravure et dessin, exécutés par des artistes vivants et exposés au Salon d'Anvers (in French). Antwerp: Typographie J. E. Buschmann. p. 156. Retrieved 18 July 2024.
  168. ↑ London International Exhibition of 1873 : official catalogue. London: J.M. Johnson & Sons. 1873. pp. 63, 68. Retrieved 7 August 2024.
  169. ↑ Royal Society for the Encouragement of Fine Arts in the city of Ghent (1874). XXIXe exposition triennale de Gand. Salon de 1874 (in French). Ghent: Eug. Vanderhaeghen. p. 109. Retrieved 16 July 2024.
  170. ↑ London International Exhibition of 1874: Official catalogue. London: J.M. Johnson & Sons. 1874. pp. 41, 42. Retrieved 20 July 2024.
  171. ↑ J. Ozenne; E. du Sommerard (1874). Expositions internationales, Londres 1874: Reports of the French commission (in French). Paris: Imprimerie nationale. pp. 27–28. Retrieved 20 July 2024.
  172. ↑ "Local news: Liège Exhibition". La Meuse (in French). Liège. 25 March 1875. Retrieved 21 July 2024.
  173. ↑ Exposition générale des beaux-arts 1875: catalogue explicatif (in French). Brussels: Imprimerie de Adolphe Mertens. 1875. p. 136. Retrieved 17 July 2024.
  174. ↑ Royal Society for the Encouragement of Fine Arts (1876). Catalogue des ouvrages de peinture, sculpture, architecture, gravure et dessin, exécutés par des artistes vivants et exposés au Salon d'Anvers (in French). Antwerp: Typographie J. E. Buschmann. pp. 172–174. Retrieved 18 July 2024.
  175. ↑ Royal Society for the Encouragement of Fine Arts (1879). Catalogue des ouvrages de peinture, sculpture, architecture, gravure et dessin, exécutés par des artistes vivants et exposés au Salon d'Anvers (in French). Antwerp: Typographie J. E. Buschmann. p. 119. Retrieved 18 July 2024.
  176. ↑ "Fine arts and sciences: Exhibition of the Artistic Circle". La Meuse (in French). Liège. 30 December 1879. p. 3. Retrieved 21 July 2024.
  177. ↑ "Sydney International Exhibition, 1879 : official catalogue of the Art Gallery : New South Wales, Great Britain, Austria, France, Germany, Belgium". Trove. Sydney: Thomas Richards. 1879. p. 77. Retrieved 21 July 2024.
  178. ↑ "Local news: Exhibition of the Artistic Circle, Casino du Passage". La Meuse (in French). Vol. 24, no. 305. Liège. 26 December 1879. p. 2.
  179. ↑ "Fine arts and sciences: Exhibition of the Artistic Circle". La Meuse (in French). Vol. 24, no. 308. Liège. 30 December 1879. p. 3. Retrieved 21 July 2024.
  180. ↑ "Local news: Exhibition of the Artistic and Literary Circle of Liège". La Meuse (in French). Vol. 25, no. 2. Liège. 2 January 1880. p. 2.
  181. ↑ Royal Society for the Encouragement of Fine Arts in the city of Ghent (1880). XXXIe exposition triennale de Gand. Salon de 1880 (in French). Ghent: Eug. Vanderhaeghen. p. 136. Retrieved 29 September 2024.
  182. ↑ "Artistic festival". Journal de Bruxelles (in French). Brussels. 27 August 1880. p. 2. Retrieved 3 October 2024.
  183. ↑ "The Circle festival". L'Indépendance belge (in French). Brussels. 21 August 1880. p. 1. Retrieved 3 October 2024.
  184. ↑ Exposition générale des Beaux-Arts de 1881, catalogue explicatif (in French). Brussels: Imprimerie de Adolphe Mertens. 1881. p. 98. Retrieved 17 July 2024.
  185. ↑ Royal Society for the Encouragement of Fine Arts in the city of Ghent (1883). XXXIIe exposition triennale de Gand. Salon de 1883 (in French). Ghent: Eug. Vanderhaeghen. p. 139. Retrieved 17 July 2024.
  186. ↑ Royal Society for the Encouragement of Fine Arts in the city of Ghent (1889). XXXIVe exposition triennale de Gand. Salon de 1889 (in French). Ghent: Eug. Vanderhaeghen. p. 103. Retrieved 17 July 2024.
  187. ↑ "The Liège Salon". La Meuse (in French). Liège. 14 May 1892. p. 5. Retrieved 22 July 2024.
  188. ↑ "Liège Salon of 1892: At the Royal Conservatory". La Meuse (in French). Vol. 37, no. 111. 7 May 1892. p. 5.
  189. ↑ "Local news: Exhibition organised by the Circle of Fine Arts for the inauguration of the new Academy". La Meuse (in French). Vol. 40, no. 162. 8 July 1895. p. 2.
  190. ↑ "Exhibition of the Circle of Fine Arts". La Meuse (in French). Vol. 40, no. 166. 12 July 1895. p. 3.
  191. ↑ M. K. (27 July 1895). "The Academy Salon (2nd article)". La Meuse (in French). Vol. 40, no. 179. p. 9.
  192. ↑ Royal Society for the Encouragement of Fine Arts in the city of Ghent (1895). XXXVIe exposition triennale de Gand. Salon de 1895 (in French). Ghent: Eug. Vanderhaeghen. p. 133. Retrieved 17 July 2024.
  193. ↑ Musée des Beaux-Arts de Liège (1955). "Exposition Le Romantisme au pays de Liège". Archives du nord bookstore (in French).
  194. ↑ Leuilliot, Paul (1956). "Le romantisme au pays de Liège". Annales (in French). 11 (3): 418–419. Retrieved 30 September 2024.
  195. ↑ Marc Renwart. "Extended biography of Adrien de Witte" (PDF). Art-info.be (in French). p. 18.
  196. ↑ Somville, Depouhon & Depouhon 1992, pp. 2, 54, 82–83.
  197. ↑ Léonard 2001, p. 343.
  198. ↑ Jacques Goijen. "La Spiritualité". École Liégeoise du Paysage (in French). Retrieved 12 August 2022.
  199. ↑ Jacques Goijen. "Ecole Liégeoise du Paysage (1880–1950)". École Liégeoise du Paysage (in French). Retrieved 4 July 2024.
  200. ↑ Jacques Goijen. "Ecole Liégeoise du Paysage". École Liégeoise du Paysage (in French). Retrieved 4 July 2024.
  201. ↑ Jacques Goijen. "Tableaux de pêche et de rivières". École Liégeoise du Paysage (in French). Retrieved 4 July 2024.
  202. ↑ Jacques Goijen. "Juin 2021 au bureau… Toujours des Heintz". École Liégeoise du Paysage (in French). Retrieved 4 July 2024.
  203. ↑ Alexandre Alvarez (10 July 2024). "Quaestus: Art acquisitions at the Treasury of Liège". Treasury of Liège Cathedral (in French).
  204. ↑ Maquet 2024, p. 12.
  205. ↑ "Miscellaneous: Local news". La Meuse (in French). Liège. 23 October 1866. p. 2. Retrieved 21 July 2024.

Bibliography

[edit]

Exhibition catalogues

[edit]
  • Jean-Patrick Duchesne, ed. (1 October 2001). Vers la modernité: le XIXe siècle au pays de Liège (Catalogue of the exhibition organised at the Museum of Walloon Art and Saint-Georges Hall, Liège, 5 October 2001 – 20 January 2002) (in French). Stavelot: Imprimerie J. Chauveheid. OCLC 66405174.
    • Duchesne, Jean-Patrick (2001). "Les arts plastiques : le cadre institutionnel". Vers la modernité : le XIXe siècle au pays de Liège (in French). pp. 48–53.
    • Bronze, David (2001). "Les arts plastiques : la peinture, le dessin et l'estampe". Vers la modernité : le XIXe siècle au pays de Liège (in French). pp. 54–77.
    • Dominique, Fanny; Quantin, Bruno (2001b). "Notices : Historique — 17. Soubre Charles Le Départ des volontaires liégeois pour Bruxelles (1878)". Vers la modernité : le XIXe siècle au pays de Liège (in French). p. 308.
    • Dominique, Fanny; Quantin, Bruno (2001c). "Notices : Historique — 18. Soubre Charles L'Arrivée de Charles Rogier et des volontaires liégeois à Bruxelles (1880)". Vers la modernité : le XIXe siècle au pays de Liège (in French). p. 308.
    • Léonard, Estelle (2001). "Notices : Les arts plastiques — 147. Soubre Charles L'Indonésienne à l'ombrelle". Vers la modernité : le XIXe siècle au pays de Liège (in French). p. 343.
    • Dominique, Fanny; Quantin, Bruno (2001). "Biographies — Soubre Charles (Liège, 1821–1895)". Vers la modernité : le XIXe siècle au pays de Liège (in French). p. 519.
  • Pierre Somville; Marie-Christine Depouhon; Gilbert Depouhon (1992). Le Cercle royal des Beaux Arts de Liège 1892–1992 (in French). Brussels: Crédit Communal. OCLC 35121530.

Museum catalogues

[edit]
  • Régine Rémon, ed. (2016). Catalogue du Musée des beaux-arts de Liège (in French). Vol. 1. Liège: Raymond Vervinckt & Fils. ISBN 978-90-8252-100-9. OCLC 972161089.
    • Desauvage, Grégory (2016). "Charles Soubre — Le Départ des volontaires liégeois pour Bruxelles sous la conduite de Charles Rogier 1878". Catalogue du musée des beaux-arts de Liège (in French). pp. 148–149.

Dictionaries

[edit]
  • Goijen, Jacques (2014). Dictionnaire des peintres de l'École liégeoise du paysage (in French). Liège: École liégeoise du paysage Éditions. pp. 564–565. ISBN 9782960045901. OCLC 980910178.
  • Paul Piron (2003–2006). Dictionnaire des artistes plasticiens de Belgique des XIXe et XXe siècles (in French). Vol. 2. Ohain - Lasne: Éditions Art in Belgium. p. 454. ISBN 2-930338-11-3. OCLC 493737398.

Art books and articles

[edit]
  • Bosmant, Jules (1930). La peinture et la sculpture au pays de Liège de 1793 à nos jours (in French). Liège: Mawet éditeur. OCLC 458651068.
  • Delaite, Philippe; Depaire, Jean-Paul (2019). L'Académie royale des Beaux-Arts de Liège une école d'art sur quatre siècles (in French). Liège: Éditions du Perron. ISBN 9782871142614. OCLC 1400269380.
  • Sabatini, Liliane (1988). Le Musée de l'Art wallon (in French). Brussels: Ministère de la Communauté française de Belgique et Crédit Communal de Belgique. OCLC 231872025.
  • Liliane Sabatini; Régine Rémon (2002). Le Musée de l'art wallon et le Cabinet des estampes et des dessins de la ville de Liège (in French). Brussels; Tournai: Dexia; La Renaissance du Livre. ISBN 9782871932987. OCLC 493455007.

See also

[edit]
[edit]
Retrieved from "https://en.wikipedia.org/w/index.php?title=Charles_Soubre&oldid=1368268854"