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===Characteristics of his work===
===Characteristics of his work===


Sus pinturas y fotografías tuvieron gran relevancia para el desarrollo científico durante el siglo XIX, sirviendo a campos como la geología y la arqueología. Sus fotografías de los frisos del Partenón y las construcciones de la acrópolis en Atenas fueron catalogadas como piezas claves para el conocimiento de este sitio arqueológico. Mientras tanto, cuadros como Grutas de Cacahuamilpa, realizado durante su viaje en México, y La cascada del Tequendama, ejecutado en su estancia en Bogotá, sirvieron para precisar detalles de la topografía de estas regiones en contraste con observaciones científicas previas. En especial, este último recuerda la verificación que el barón Gros hizo de la medida de la altura del Salto proporcionada por Alexander von Humboldt, con quien intercambió correspondencia. Entre los óleos y acuarelas realizados a mediados del siglo XIX con motivo de esta imponente cascada colombiana, el cuadro de Gros destaca por su vista frontal centrada en la caída y la niebla producida por el impacto del agua en la parte baja.
His paintings and photographs contributed to the development of the fields of geology and archaeology in Colombia during the nineteenth century. His photographs of Parthenon friezes and the constructions of the acropolis in Athens were catalogued as key elements for knowledge of this archaeological site. Meanwhile, paintings such as Grutas de Cacahuamilpa (Cacahuamilpa Grottos), taken during his trip to Mexico, and La cascada del Tequendama (Tequendama Falls), taken during his stay in Bogotá, served to clarify details of the topography of these regions in contrast to previous scientific observations. In particular, the latter recalls Gros's verification of the height measurement of the falls provided by Alexander von Humboldt, with whom he corresponded. Among the oil paintings and watercolors produced of this impressive Colombian waterfall in the mid-nineteenth century, Gros's.
En pintura, se reconoció al barón Gros su maestría en la ejecución de paisajes, guardando los preceptos de la tradición académica pero haciendo un balance entre la visión científica de la naturaleza y varios de estos son conservados en colecciones de arte de países latinoamericanos como el Banco de Bogotá<ref>Moreno de Ángel, P. (2000). El daguerrotipo en Colombia. Bogotá: Bancafé.</ref>, el Banco de la República en Colombia y el Museo Soumaya de Ciudad de México<ref>Paisaje, 1862. Museo Soumaya, Ciudad de México. En Google Arts & Culture: https://artsandculture.google.com/asset/paisaje-jean-baptiste-louis-bar%C3%B3n-gros/iAGfHGG4FjUmkQ</ref>.
painting stands out for its frontal view centered on the falls and the fog produced by the impact of the water on the canyon below.
En su trabajo con el daguerrotipo se ha destacado su trabajo riguroso y disciplinado para la preparación de las imágenes, controlando los tiempos de exposición, la estabilidad de la cámara y el aprestamiento de los soportes. En Colombia, su legado fotográfico es bastante apreciado en la reconstrucción de la historia del arte, pues se le atribuye la rápida introducción del daguerrotipo al país, apenas unos meses después de su invención en Francia. Son de su autoría las dos fotografías más antiguas que se conservan de Bogotá y se presume que fue el encargado de transmitir el oficio a los primeros fotógrafos colombianos, como es el caso de Luis García Hevia.  
In painting, Gros was recognized for his mastery in the execution of landscapes, keeping the precepts of the academic tradition but balancing it with the scientific vision of nature. Several of his works are preserved in art collections in Latin American, including by Banco de Bogotá<ref>Moreno de Ángel, P. (2000). El daguerrotipo en Colombia. Bogotá: Bancafé.</ref> and Banco de la República in Colombia and the Soumaya Museum in Mexico City.<ref>Paisaje, 1862. Soumaya Museum, Mexico City. Accessed at Google Arts & Culture: https://artsandculture.google.com/asset/paisaje-jean-baptiste-louis-bar%C3%B3n-gros/iAGfHGG4FjUmkQ</ref>
A nivel internacional, varias colecciones de arte conservan fotografías de su autoría, como el Museo Metropolitano de Nueva York<ref>El salón del barón Gros, 1850-1857. MET Museum, Nueva York:https://www.metmuseum.org/es/art/collection/search/291739</ref> y el Getty Museum de Los Ángeles<ref>Copia en daguerrotipo del grabado A dream of joy, 1852-1853. Getty Museum, Los Ángeles: http://www.getty.edu/art/collection/artists/2037/baron-jean-baptiste-louis-gros-french-1793-1870/</ref>. De estas piezas se destacan el calibre de la composición y los juegos de luces además del dominio técnico. Son imágenes que dan cuenta también de la posición social del diplomático francés, así como de sus gustos y refinamientos.
As for the daguerreotype, his rigorous and disciplined work in preparing images, controlling exposure times, the stability of the camera, and the preparation of the media has been noted. In Colombia, his photographic legacy is appreciated for the reconstruction of the history of art, as he is credited with the rapid introduction of the daguerreotype into the country, just a few months after its invention in France. He is the author of the two oldest preserved photographs of Bogotá and is presumed to have been responsible for passing on the craft to the first Colombian photographers, such as Luis García Hevia.
At the international level, several art collections hold his photographs, such as the Metropolitan Museum of New York<ref>El salón del barón Gros, 1850-1857. MET Museum, New York: https://www.metmuseum.org/es/art/collection/search/29179</ref> and the Getty Museum in Los Angeles.<ref>Copia en daguerrotipo del grabado A dream of joy, 1852-1853. Getty Museum, Los Ángeles: http://www.getty.edu/art/collection/artists/2037/baron-jean-baptiste-louis-gros-french-1793-1870/</ref>In these, the caliber of the composition and the play of light as well as the technical mastery are notable. These images also convey the social position of the French diplomat, as well as his tastes and refinements.


===Obras destacadas===
===Obras destacadas===

Revisión del 15:09 21 sep 2021

Otros idiomas:
Jean Baptiste Louis Gros
Avatar-hombre.jpg
Datos generales
Nombre Jean Baptiste Louis Gros
Fecha de nacimiento 08 de febrero de 1793
Nacionalidad Francés
Ocupación Político, pintor, fotógrafo
País de nacimiento Francia
Ciudad de nacimiento Ivry sur Seine
Fecha de fallecimiento 17 de agosto de 1870
País de fallecimiento Francia
Ciudad de fallecimiento París
Familia Antoine Jean Gros (Padre)


Jean Baptiste Louis Gros was a French painter, photographer, and diplomat, born on February 8, 1873, in Ivry-sur-Seine. In the history of Colombian art, Gros is recognized as an eminent mid-nineteenth century landscape painter and a transcendental figure in the development of photography in the country through the introduction of the daguerreotype. His images have contributed not only to the arts, but to other fields of knowledge such as geology and archaeology, by providing visual testimonies of the territory and culture in the countries he visited during his diplomatic missions. He died in Paris on August 17, 1870.

Biography

Jean Baptiste Louis Gros was the son of Antoine Jean Gros, a painter and portraitist to Napoleon Bonaparte and given the title of baron by King Charles X in 1830. Gros developed a diplomatic career that took him to several countries in Europe, the Americas, and the Orient throughout his life, being commissioned by King Louis-Philippe of France to attend to affairs in New Granada in 1839, in relation to the construction of the Panama Canal and disputes over American goods.

He landed in Cartagena de Indias, Colombia, on June 25, 1839 and arrived in Bogotá on September 5. He served as Charge d'Affaires of France in Bogotá from 1839 to 1843; intervened in various matters related to French interests in the Panama Canal, and was responsible for negotiating the compensation received by the French subjects whose merchandise was seized by the authorities of Granada in the North American schooner " By Chance ", through an agreement signed by him and Mariano Ospina in 1843.

In addition to showing great interest in national art, Barón Gros was able to appreciate Colombian landscapes, from which he was inspired to paint a series of oils on typical motifs; his most memorable paintings are: the Tequendama Falls and the Icononzo Bridge.

Artistic career

Gros's artistic work began in painting and demonstrates meticulous academic training. He is catalogued among the generation of “traveling artists” for his periods of work in countries such as Mexico and Colombia between 1830 and 1860, where he produced landscapes in a scientific spirit that were at the same time nourished by the romanticism of the Humboldt school. He also had experience as a lithographer. As for photography, Gros began his exploration for his own interest, just a few months after the invention of the daguerreotype in 1839. His privileged position allowed him to acquire the equipment, supplies, and manuals necessary to begin operating in this new technique that dazzled him with the possibility of capturing images with photosensitive plates. Through his self-taught learning, he achieved expertise in the field, producing important photographic archives as well as written works in which he shared his own findings on the use of the medium. Within a decade, his experience earned him a place as president of the Heliographic Society of France.

Characteristics of his work

His paintings and photographs contributed to the development of the fields of geology and archaeology in Colombia during the nineteenth century. His photographs of Parthenon friezes and the constructions of the acropolis in Athens were catalogued as key elements for knowledge of this archaeological site. Meanwhile, paintings such as Grutas de Cacahuamilpa (Cacahuamilpa Grottos), taken during his trip to Mexico, and La cascada del Tequendama (Tequendama Falls), taken during his stay in Bogotá, served to clarify details of the topography of these regions in contrast to previous scientific observations. In particular, the latter recalls Gros's verification of the height measurement of the falls provided by Alexander von Humboldt, with whom he corresponded. Among the oil paintings and watercolors produced of this impressive Colombian waterfall in the mid-nineteenth century, Gros's. 

painting stands out for its frontal view centered on the falls and the fog produced by the impact of the water on the canyon below.

In painting, Gros was recognized for his mastery in the execution of landscapes, keeping the precepts of the academic tradition but balancing it with the scientific vision of nature. Several of his works are preserved in art collections in Latin American, including by Banco de Bogotá[1] and Banco de la República in Colombia and the Soumaya Museum in Mexico City.[2] As for the daguerreotype, his rigorous and disciplined work in preparing images, controlling exposure times, the stability of the camera, and the preparation of the media has been noted. In Colombia, his photographic legacy is appreciated for the reconstruction of the history of art, as he is credited with the rapid introduction of the daguerreotype into the country, just a few months after its invention in France. He is the author of the two oldest preserved photographs of Bogotá and is presumed to have been responsible for passing on the craft to the first Colombian photographers, such as Luis García Hevia. At the international level, several art collections hold his photographs, such as the Metropolitan Museum of New York[3] and the Getty Museum in Los Angeles.[4]In these, the caliber of the composition and the play of light as well as the technical mastery are notable. These images also convey the social position of the French diplomat, as well as his tastes and refinements.

Obras destacadas

  • 1835: Grutas de Cacahuamilpa
  • 1841: La cascada del Tequendama
  • 1842: primeros daguerrotipos de Colombia: “Calle del Observatorio. Bogotá” y “Vista de la Catedral de Bogotá”.
  • 1850: serie de aproximadamente 80 placas fotográficas de la Acrópolis en Atenas.
  • 1850-1857: El salón del barón Gros
  • 1862: Paisaje

Obras de Jean Baptiste Louis Gros en las Colecciones del Banco de la República

Obras de Jean Baptiste Louis Gros en la Colección de Arte
Título Año Ubicación Denominación Registro
Paisaje con puente de madera 1842 En exhibición, MAMU, curaduría Rupturas y continuidades Pintura AP3909

Cronología

  • 1793: nació en Francia el 8 de febrero.
  • 1823: inició su carrera diplomática en el gobierno francés con la corte portuguesa.
  • 1828: se trasladó en misión a Egipto.
  • 1831: viajó en misión diplomática a México.
  • 1839: llegó a Colombia, en agosto a Cartagena de Indias y a Bogotá en septiembre.
  • 1842: tomó los dos primeros daguerrotipos en Colombia.
  • 1843: terminó su estancia en Colombia.
  • 1847: publicó Recolección de recuerdos y nuevos procesos relativos a la fotografía.
  • 1850: captó imágenes de la acrópolis de Atenas en Grecia.
  • 1851: presidió la Sociedad Heliográfica de Francia.
  • 1870: murió en París el 17 de agosto.

Véase también

Referencias

  1. ↑ Moreno de Ángel, P. (2000). El daguerrotipo en Colombia. Bogotá: Bancafé.
  2. ↑ Paisaje, 1862. Soumaya Museum, Mexico City. Accessed at Google Arts & Culture: https://artsandculture.google.com/asset/paisaje-jean-baptiste-louis-bar%C3%B3n-gros/iAGfHGG4FjUmkQ
  3. ↑ El salón del barón Gros, 1850-1857. MET Museum, New York: https://www.metmuseum.org/es/art/collection/search/29179
  4. ↑ Copia en daguerrotipo del grabado A dream of joy, 1852-1853. Getty Museum, Los Ángeles: http://www.getty.edu/art/collection/artists/2037/baron-jean-baptiste-louis-gros-french-1793-1870/

Bibliografía

1. Londoño, S. (2009). Testigo ocular: la fotografía en Antioquia, 1848-1950. Medellín: Universidad de Antioquia.

2. Orrantia, R. (2004). Tres estudios sobre fotografía de viaje. Tesis de maestría en Historia y teoría del arte y la arquitectura, Universidad Nacional de Colombia.

3. Sougez, M.L.; Pérez Gallardo, H. (2003). Diccionario de historia de la fotografía. Madrid: Ediciones Cátedra. p. 212. ISBN 84-376-2038-4.

4. Uribe, V. (2019). Pintar el ruido con silencio: descripciones sonoras y representaciones visuales decimonónicas del Salto del Tequendama. Anales del Instituto de Investigaciones Estéticas, 41, pp. 9-60. http://www.scielo.org.mx/scielo.php?pid=S0185-12762019000200009&script=sci_arttext

Colección de arte del Banco de la República

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Créditos

1. Investigación y texto: Oscar David Rodríguez, mediador de los Museos y colecciones del Banco de la República, para Banrepcultural.

2. Revisión y edición de textos: Inti Camila Romero Estrada y Diana Marcela Salas Solórzano. Servicios al Público y Educativos, Unidad de Arte y Otras Colecciones (UAOC)

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