Lionel Royer
Lionel Royer is a painter of French history which in particular painted the large scenes of the life of Jeanne d' Arc with the basilica of Wood-Chenu to Domrémy.
It was born with Castle-of-Dormouse in the the Sarthe on December 25th, 1852. Volunteer with less than 18 years in the Voluntary of the West, it makes the Guerre of 1870 and takes part in particular in the battle of Loigny on December 2nd, 1870 with the general Athanase of Cart of Contrie. This one, having noticed that it draws well, makes him offer a grant to the Art schools of Paris. It is there pupil of Alexandre Cabanel and Bouguereau. It obtains the second first large Prix of Rome in 1882. It becomes then a Portraitiste run and especially a painter of history.
Its most known works are " Vercingétorix throwing its weapons with the feet of César" (1899) and the decoration of the basilica of Domrémy dedicated to Jeanne d' Arc.
With the One of the illustrated supplements of newspapers of the time, he was the commentator of his time, in particular when he painted " Dreyfus in its prison" or " Auguste Count and his three muses".
In remembering its participation in the battle of Loigny, it gave to the new church rebuilt in this village two tables, one representation the mass heard by the Volontaires of the West before leaving to the battle and the second representing the night anguish the general Sonis on the battle field. In 1897, it makes gift at the Historical and Archaeological Company of Maine - from which he was member like was also Albert Maignan - of the ten aquarellées models representing the Vie of Jeanne d' Arc , carried out with the tenth and presented in 1893 to the contest of the canopies of the Cathédrale of Orleans, which he will not carry out. " The scenes of battles in Orleans in front of the fortress of the Turrets or to Compiegne, offer to Royer, painter history, to give its measurement to compose the tangle of the bodies vêtus of armours and sets of lances. To cause the emotion, the allegory and the marvellous one come to assistance of the history. Lionel Royer is based on the historical spot, quoted with precision. Jeanne, ahead and isolated, is the instrument which suggests with the political arena and nun a possible reconciliation. By the evocative synthesis that it carries out and the " sentiment" that it introduced into this cycle, the painter leaves the judgment to the ideas of chacun" (Chantal Bouchon). Lionel Royer takes again this johannic iconography (assisted Charles Lorin of Chartres] as Master-glassmaker, with the basilica of Domrémy. In the canopy of the deposit of the sword of Fierbois by an angel, the face of Xaintrailles carries the features of the architect, Paul Sédille. " Though impressed historicism in the characters with the raphaélesques and almost ingresques reminiscences, these canopies have a connotation of call to revenge, in this place of Domrémy so charged with symbole" (Chantal Bouchon).
It had two girls and a son. This one, engaged in the priesthood, was gauze during the Guerre of 14-18 and died shortly after. The two girls of Royer left descendants one in France, the other in Belgium.
Lionel Royer died in Neuilly-sur-Seine in July 1926.
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