3.1 Introduction
Artists did not operate in isolation. Establishing a robust support system was crucial; ranging from family who ensured that food and basic necessities were taken care of, to social connections gaining access to ateliers, and patrons financially assisting in times of need. These relations played an important1 and often overlooked role in the 19th century art world. In this article, I seek to understand how such social connections were used, through the experiences of three pupils of the neoclassical painter François-Joseph Navez (1787-1869) [1]: Albert Pierre Roberti (1811-1864), Jules Storms (1817-after 1847) and Jean-Baptiste Van Eycken (1809-1853). In 1838, all three of them were granted the chance to enhance their painting techniques in the Eternal City of Rome.2
While there has been research on Navez’s historical and stylistic shifts, the impact of his relations has remained largely unexplored. This article will focus specifically on his role as a maître in relation to his temporally based-in Rome students and seeks to understand how these social connections affected the artistic influence and experiences of his students.
Examining the correspondence of Navez, preserved at KBR (Royal Library of Belgium), offers a comprehensive insight into the experiences of these students.3 As these letters were addressed to Navez, they shed light on his pupils’ perspectives and the ways in which they communicated with their master, serving as a crucial source for reconstructing the past. The methodology employed in this qualitative study involves the transcription of the letters followed by close readings, allowing the identification of several topics and themes. These identified elements become instrumental in mapping out the significance of the pupil-teacher relationship within the context of the letters, revealing rich evidence on various aspects including their thoughts and doubts on their artistic productions, financial challenges, social gatherings, visited locations, and daily life in Rome. Thereby, this corpus of sources offers a multifaceted view into the social dynamics of the pupil-teacher relationship and the pupils' artistic journeys.
1
François-Joseph Navez,
Self-portrait, 1854,
oil on canvas, 118 × 93 cm,
Royal Museums of Fine Art of Belgium, Antwerp, inv. no. 1534
Notes
1 As Kienle emphasizes, network analysis can provide new perspectives on the dynamics of such relationships in art history, see Kienle 2017.
2 About Navez and his pupils in Italy, Messens 2019, Alvin 1870, Coekelberghs/Jacobs/Loze 1999; Maret 1962.
3 KBR’s collection of over 2,000 letters written to François-Joseph Navez was handed over to the Manuscript Cabinet in 1871 by his son-in-law and pupil, Jean François Portaels (1818-1895). Restored and digitized through the Navez Project, these letters are now available in KBR’s online catalogue.