William Adolphe Bouguereau (1825-1905)

William-Adolphe Bouguereau was born in La Rochelle, France, on November 30, 1825, into a family of wine and olive oil merchants. He seemed destined to join the family business but for the intervention of his uncle Eugène, a Roman Catholic priest, who taught him classical and Biblical subjects, and arranged for Bouguereau to go to high school. He showed artistic talent early on. His father was convinced by a client to send him to the École des Beaux-Arts in Bordeaux, where he won first prize in figure painting for a depiction of Saint Roch. To earn extra money, he designed labels for jams and preserves.[4]


Through his uncle, Bouguereau was given a commission to paint portraits of parishioners, and when his aunt matched the sum he earned, Bouguereau went to Paris and became a student at theÉcole des Beaux-Arts.[4] To supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of François-Edouard Picot, where he studied painting in the academic style. Academic painting placed the highest status on historical and mythological subjects and Bouguereau won the coveted Prix de Rome at age 26 in 1850,[5] with his Zenobia Found by Shepherds on the Banks of the Araxes.[6] His reward was a year at the Villa Medici in Rome, Italy, where in addition to formal lessons he was able to study first-hand the Renaissance artists and their masterpieces, as well as Greek, Etruscan, and Roman antiquities.[5] He also studied classical literature, which influenced his subject choice for the rest of his career.[5]

Raphael was a favorite of Bouguereau and he took this review as a high compliment. He had fulfilled one of the requirements of the Prix de Rome by completing an old-master copy of Raphael’s The Triumph of Galatea. In many of his works, he followed the same classical approach to composition, form, and subject matter.[8] Bouguereau's graceful portraits of women were considered very charming, partly because he could beautify a sitter while also retaining her likeness.Bouguereau, painting within the traditional academic style, exhibited at the annual exhibitions of the Paris Salon for his entire working life. An early reviewer stated, "M. Bouguereau has a natural instinct and knowledge of contour. The eurythmie of the human body preoccupies him, and in recalling the happy results which, in this genre, the ancients and the artists of the sixteenth century arrived at, one can only congratulate M. Bouguereau in attempting to follow in their footsteps ... Raphael was inspired by the ancients ... and no one accused him of not being original."[7]


In 1856, he married Marie-Nelly Monchablon and subsequently had five children. By the late 1850s, he had made strong connections with art dealers, particularly Paul Durand-Ruel (later the champion of the Impressionists), who helped clients buy paintings from artists who exhibited at the Salons.[9] Thanks to Paul Durand-Ruel, Bouguereau met Hugues Merle, who later often was compared to Bouguereau. The Salons annually drew over 300,000 people, providing valuable exposure to exhibited artists.[10] Bouguereau’s fame extended to England by the 1860s, and he bought a large house and studio in Montparnasse with his growing income.[11]

Bouguereau was a staunch traditionalist whose genre paintings and mythological themes were modern interpretations of Classical subjects, both pagan and Christian, with a concentration on the naked female human body. The idealized world of his paintings, brought to life goddesses, nymphs, bathers, shepherdesses, and madonnas in a way that appealed to wealthy art patrons of the era.