(Pléhedel, 1804 – Paris, 1889)
Lyon: le lazaret de la Quarantaine au pied du coteau de Sainte-Foy
Oil on canvas
Signed and dated lower left
38 x 61 cm
– Paris Salon of 1840, under the No. 850, titled La quarantaine, and the hillside of Sainte-Foix, Lyon
– Exhibition of Amiens from 1840
– Amiens Friends of Arts Society (acquired at the 1840 exhibition)
– Probably Deberly collection (pencil inscription on the back of the frame)
– Lithography, titled Ancien Lazaret de la Quarantaine, part of the collection “Album lyonnais. Picturesque views of Lyon and its surroundings “published from 1839
Edouard Hostein is one of the very good landscapers of the mid-nineteenth century.
With no known master, he devoted himself to studies from nature, and began by specializing in lithography, collaborating with Baron Taylor for views of Auvergne, Normandy and the Paris region. Now a traveling artist, he stays in the Ardennes, Alsace and Germany in the second half of the 1830s, before quickly discovering Italy. On his return, he settled fairly long in the Dauphiné and in particular the Lyon region, occasionally making trips to the Paris region, Nantes or Normandy (around 1850, in particular).
At the end of the 1850s, because of the precarious health of his wife, he stopped exhibiting at the Salon and made regular visits to Toulon, where he settled permanently in 1862; he became a member of the Var Academy in 1877.
Hostein is a “classical” painter, attentive to details and atmospheric rendering, without neglecting the picturesque, with an excellent panoramic sense.
Our composition corresponds to the lithography of the same subject published in the “Album Lyonnais. Picturesque views of Lyon and its surroundings “. This album, commissioned and published by the Society of Friends of the Arts of Lyon, will include 45 lithographed plates, including 29 compositions by Edouard Hostein; the others were the work of Dauzats, Champin, Coignet, Bayot, Desjardins and Villeneuve, who contributed as draughtsmen and / or engravers. Each view measured 29.5 x 49.5 cm. The lazaret de la Quarantaine was among the first ten views for the album, which could already be admired during the 1839/1840 Lyon exhibition.
At the Paris Salon of 1840, we find the following comment in the “Journal des Artistes” of April 26, 1840: “Finally, we will conclude our report by mentioning seven landscapes of Mr. Hostein; they are all composed with taste and painted with great vigor; he is a very skilful artist to whom we will reproach only a few hardnesses in the shaded parts. ” At that time, Hostein was already rewarded with two medals at the Salon, and in 1841, the “Journal des Artistes”, on the occasion of the Salon of Paris, will place it “among the most skilful landscapers” and writes “that it would be difficult to be more true”.
In Paris, the painting of the Quarantine left for the Amiens Exhibition, which opened on June 25, gathering some 350 works. He is quoted in “L’Artiste” (volume 6 of the second series, 1840) as part of the “intelligent acquisitions” made by the Society of Friends of the Arts. On the other hand, we do not know when the work was returned to the Deberly family.
The quarantine hospital was built from the end of the 15th century to isolate plague victims and more generally to accommodate vagrants and beggars when the epidemic was less virulent; the group consisted of several buildings, the main one being the one occupying the center of the composition of the painting and commissioned around 1530 by the Florentine architect Salvatori by the wealthy bourgeois of Lyon Thomas de Gadagne; this building, whose two floors of galleries are recognizable and the staircase descending towards the Saone, was apparently called Hospice Gadagne or St. Thomas, and it would have been used from 1580 to store the goods suspected of contagion. The square tower surmounted by a lantern served as an entrance to the enclosure of the hospital.