Joseph Aubert

Early Life and Artistic Training

Joseph Aubert was born in Nantes, France, on 20 August 1849. His early years in this port city preceded a move toward the formal structures of the French art world. In 1872, he married the daughter of the mathematician Jean Claude Bouquet, a connection that occurred just before his formal entry into the Parisian academic system.

The year 1873 marked a shift in his professional path when he was admitted to the Ecole des Beaux-Arts in Paris. He entered the studio of Alexandre Cabanel, a setting that would shape his technical approach and his focus on religious subjects. This training provided the foundation for his later work in both painting and stained glass design.

Religious Art and Commissions

Aubert found his focus in the quiet spaces of sacred architecture. He spent much of his career working with religious painting and the precise demands of stained glass design. His hands were often occupied with the heavy task of decorating church interiors, most notably through the frescoes he created for Notre-Dame des Champs in Paris and Notre-Dame de Besançon. These works required a steady hand to meet the scale of the stone walls they inhabited.

At Notre-Dame-des-Champs, his presence is felt through several large-scale efforts. He produced a series of 22 large format canvases centered on the Vie de la Vierge. Within the same church, he also contributed 10 paintings to the choir. One of his more significant pieces for this space is the Triomphe universel de la Vierge, an oil on canvas that was eventually marouflaged onto the wall in the apse of the church.

Key Works and Sketches

In 1879, Aubert turned his attention to the interior spaces of Paris, specifically the school for boys located on rue Dombasle in the 15th arrondissement. He produced several sketches intended for the drawing room of this institution. These works, including an oil on canvas, capture the specific requirements of the space. One version of the sketch is dated 1879, while others from that same period appear in various forms, including a version from about 1879.

His brushwork also moved toward more dramatic historical subjects. In 1882, he completed Les Noyades de Nantes en 1793. This work reflects a departure from the architectural planning of his earlier sketches, focusing instead on a specific moment in history. His output during this time shows a steady hand in both the preparation of decorative environments and the execution of larger, more singular subjects.

• Sketch for the drawing room of the boys' school of the rue Dombasle, 15th arrondissement of Paris (1879)
• Les Noyades de Nantes en 1793 (1882)

Where to See the Works Today

Much of Joseph Aubert's output remains within the walls of the Petit Palais, the Museum of Fine Arts of the City of Paris. There, the focus shifts from his larger religious commissions to the quiet, intimate studies of the human form. These works reveal a preference for specific textures and the way light settles on a profile. You might find a monk in profile, rendered in sanguine on blue paper, or a priest captured in profile using black stone on paper. These pieces show a hand accustomed to the weight of a pencil and the softness of chalk.

The collection at the Petit Palais also includes more intense, experimental marks. One can observe a head of a Holy Woman in profile, where the artist used both blood and black stone on paper to define the features. These smaller works offer a glimpse into the technical choices made during his private practice, away from the large-scale frescoes of the churches. They are studies of light and shadow, captured on paper rather than canvas.

• Sketch for the drawing room of the boys' school in rue Dombasle, 15th arrondissement of Paris (1879)
• Les Noyades de Nantes en 1793 (1882)

Later Years and Death

The final years of Joseph Aubert's life were spent in Neuilly-sur-Seine. Having moved through the artistic circles of Paris and the studios of the Ecole des Beaux-Arts, he remained a presence in the French painting tradition until his passing. His work continued to occupy spaces in churches and private collections, marked by the specific focus he held for religious subjects and the detailed sketches that captured figures in profile.

He died on 23 May 1924. He was born in Nantes, France, a beginning that preceded a long career of painting and stained glass design. His life ended in the quiet of Neuilly-sur-Seine, leaving behind a body of work that remains held in various museums and collections.