Camille de Chantereine was a student of the most popular and influential flower painter in Napoleonic France, Pierre-Joseph Redouté (1759–1840), whose rich and fresh style she closely imitated. From 1827, she regularly exhibited her work at the Salon in Paris and was twice awarded the gold medal. At a time when the painting of flowers was considered “the most pleasing and enjoyable talent, especially for a woman,” she offered classes at her home in Rue de la Ville-l’Évêque by the church of La Madeleine, and was commended by the Parisian press for her “clear, easy, and quick” artistic method. Among her patrons was Amélie of Leuchtenberg (1812–73), widow of Pedro I and the former Empress of Brazil.
More Exhibit Items
Artist unknown, woodcut, from Pietro Andrea Mattioli, Commentarii in sex libros Pedacci Dioscoridis (Venice: Valgrisi, 1565)
Jessie Wei-Hsuan Chen, 2020, 22 × 16 × 2 cm, wood carving
Wilhelm Sandler, 55 × 38 cm, hand-colored lithograph, from Johann Emanuel Pohl, Plantarum Brasiliae icones et descriptiones, vol. 2 (Vienna: Strauss, 1827–31)
Wilhelm Sandler, 55 × 38 cm, hand-colored lithograph, from Johann Emanuel Pohl, Plantarum Brasiliae icones et descriptiones, vol. 2 (Vienna: Strauss, 1827–31)
Pieter Sluyter after Maria Sibylla Merian (1647–1717), hand-colored etching and engraving, from Maria Sibylla Merian, Metamorphosis insectorum surinamensium (Amsterdam: Oosterwyk, 1719), plate 45
Joseph Mulder after Maria Sibylla Merian (1647–1717), hand-colored etching and engraving, from Maria Sibylla Merian, Metamorphosis insectorum surinamensium (Amsterdam: Oosterwyk, 1719), plate 1
Lydia Byam (1772–after 1799), watercolor, from A Collection of Exotics, from the Island of Antigua, by a Lady (London: White, ca. 1799), plate 9
Lydia Byam (1772–after 1799), watercolor, from A Collection of Exotics, from the Island of Antigua, by a Lady (London: White, ca. 1799), plate 10
Giovanna Garzoni (1600–70), Musa, watercolor and gouache, from Piante Varie (ca. 1631), folio 8r
Giovanna Garzoni (1600–70), watercolor and gouache, signed “GARZON,” from Piante Varie (ca. 1631), folio 34r
Anna Maria Vaiani (fl. 1627–50), engraving, signed “Anna M.a Vaiana,” from Giovanni Battista Ferrari, De florum cultura (Rome: Stephanus Paulinus, 1633)
Augusta Jane Robley, née Penfold (1809–68), color lithograph, from Augusta Robley, A Selection of Madeira Flowers, drawn and coloured from nature, with text by Reverend William Lewes Pugh Garnons (1791–1863) (London: Reeve, Brothers, 1845), plate 1
Augusta Jane Robley, née Penfold (1809–68), color lithograph, from Augusta Robley, A Selection of Madeira Flowers, drawn and coloured from nature, with text by Reverend William Lewes Pugh Garnons (1791–1863) (London: Reeve, Brothers, 1845), plate 4
Clara Maria Pope, née Leigh (1767–1838), 1818, 58.2 × 49.6 cm, gouache with gum arabic, signed and dated “Clara Maria Pope 1818,” illustration for Samuel Curtis, The Beauties of Flora (Gamston: Curtis, 1820)
Clara Maria Pope, née Leigh (1767–1838), before 1820, 58.2 × 49.6 cm, watercolor and gouache, signed “Clara Maria Pope,” illustration for Samuel Curtis, The Beauties of Flora (Gamston: Curtis, 1820)