TURPIN DE CRISSÉ, Lancelot-Théodore - b. 1782 Paris, d. 1859 Paris - WGA

TURPIN DE CRISSÉ, Lancelot-Théodore

(b. 1782 Paris, d. 1859 Paris)

French painter. Scion of an ancient patrician family of Angers, he was the son and grandson of high army officers who had earned a reputation for their publications in the military sciences but also cultivated the arts. His father, a gifted amateur, exhibited two paintings and several drawings of Roman views at the Paris Salon of 1787, anticipating what would become his son’s artistic speciality. A devoted royalist, the elder Turpin emigrated in 1794, at the height of the revolutionary Terror, and died penniless in Philadelphia. His family meanwhile found shelter with relatives in Anjou, where his mother supported them by painting portrait miniatures.

Returning to Paris, after the persecution of nobles had ceased during the Directory, the young Turpin was befriended by the comte de Choiseul-Gouffier who gave him the means for a period of independent study in Switzerland (1803). Turpin made his Salon debut in 1806 with a landscape composition based on a literary subject from Châteaubriand, Les Adieux de René à sa soeur, which won him a gold medal.

During a stay in Rome and Naples in 1807-1808, Turpin continued his studies of landscape and architectural views. Back in France, he entered the circle of Queen Hortense, stepdaughter of Napoleon, who recommended him to her mother, the ex-Empress Josephine. Appointed as one of Josephine’s chamberlains in 1810, Turpin remained in her service until her death in 1814 and is believed to have become her lover. The fall of Napoleon in 1814, followed shortly by the death of Josephine, freed Turpin of his court functions and enabled him to devote himself to painting.

He had meanwhile married (1813) and been rendered financially secure by a large inheritance from a cousin, the marquis de Lusignan. Made an honorary member of the Academy in 1816 and appointed to the Conseil des Musées, he served in the Commission des Beaux-Arts and in 1825 was elected to the Legion of Honour. A frequent exhibitor at the Paris Salons from 1806 until 1835, he traveled in Italy in search of picturesque motifs in 1818 and again in 1824 and 1830.

When the Bourbon government was brought down by the July Revolution of 1830, Turpin resigned his state functions and retired to private life in his native Angers to devote his remaining years to the formation of a collection of antiquities and works of art. In 1850 he bequeathed his collections to Angers, where they are housed in the museum that bears his name.

Arch of Constantine from Colosseum
Arch of Constantine from Colosseum by

Arch of Constantine from Colosseum

Bay of Naples
Bay of Naples by
Crusaders Departing from the Castle of Wuflens, near the Lake of Geneva
Crusaders Departing from the Castle of Wuflens, near the Lake of Geneva by

Crusaders Departing from the Castle of Wuflens, near the Lake of Geneva

In this painting Turpin de Criss� combined his interest in architecture with his love of troubadour subject matter, the pageantry of the return of crusader knights to the blessing of Church and home. With its engaging combination of symmetrical architecture and the delicate flurry of detail below, the picture epitomizes the particularly early nineteenth-century confluence of Neo-classical style and romantic subject.

Erechteion on Acropolis
Erechteion on Acropolis by

Erechteion on Acropolis

Roman Forum
Roman Forum by
Temple of Antoninus and Faustina
Temple of Antoninus and Faustina by

Temple of Antoninus and Faustina

View of the Roman Forum
View of the Roman Forum by

View of the Roman Forum

Turpin de Criss� is best known for his Italian views and landscapes. His most important works often bear two dates, which correspond to the date of the execution of the drawing in situ and to the execution of the painting in the studio once he had returned to Paris. Thus for the present painting, showing the Roman Forum with the temples of Vespasian and Saturn, the drawing was executed in situ in 1818, and the painting some twenty-four years later in 1842.

In the painting, Turpin has borrowed from eighteenth-century landscapists the trick of adopting a low viewpoint in order to accentuate the monumentality of the central ruin, the Temple of Vespasian, which is rendered with great attention to detail.

Feedback