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Anne-François-Louis Janmot (21 May 1814 – 1 June 1892) was a French painter and poet.
After his return to Lyon in 1836, Janmot would attract the attention of critics of the Salon de Paris in conducting large-scale paintings with religious inspiration such as The Resurrection of the son of the widow of Nain (1839) or Christ in Gethsemane (1840). After 1845, he attracted the interest of Charles Baudelaire with his painting Flower of the Fields that allowed him to access to the Salon of 1846. Theophile Gautier was impressed by his Portrait of Lacordaire (1846). But the failure of his Poem of the Soul at the Universal Exhibition of 1855 disappointed him. In December of that year he married Leonie Saint-Paulet, from a noble family in Carpentras.
In 1856, Janmot obtained a commission to paint a fresco (since destroyed) representing the Last Supper for the church of St. Polycarp. Other orders followed, including the decoration of the dome of the Church of St. Francis de Sales and for the town hall that had been renovated by his friend the architect T. Desjardins. He was then appointed professor at the École des Beaux-Arts.
After the birth of her seventh child in August 1870, his wife died in Bagneux. While the Prussian troops approached and occupied his home, he fled to Algiers with his stepfather and made landscape paintings. He returned in June of the following year in Paris and led a solitary life. His house in Bagneux had been looted. In 1878, he produced a fresco in the chapel of the Franciscans in the Holy Land, but this work was not followed by any further commission.
Faced with family and increasing financial problems, Janmot came to Toulon, and despite some orders (new Portrait of Lacordaire (1878, Museum of Versailles), Rosaire (Saint-Germain-en-Laye, 1880), Martyrdom of St. Christine (Solliès-Pont, 1882), he lived a retired life. He finished the second part of the Poem of the Soul that the patron and former industrial Félix Thiollier was willing to publish.
In 1885, Janmot married a former student, Antoinette Currat, and returned to Lyon. He made charcoal drawings on the theme of the underworld, which can be regarded as a kind of continuation of the Poem of the Soul, including Purgatory (1885) and The End of Time (1888). In 1887 was published in Lyon and Paris a book of more than 500 pages book entitled Opinion of an artist on art that includes articles previously written by Janmot. He died five years later at the age of 78.
Like Jean-Hippolyte Flandrin, another painter from Lyon and student of Ingres, Janmot carried out many commissions for church decorations. In his paintings the immaculate finish of Ingres was combined with a mysticism that has parallels in the work of his contemporaries the Nazarenes and the Pre-Raphaelites.Turner, 2000, p. 258.
| | colspan="2" | First part : the paintings || width="50px" | || colspan="2" Second part : the drawings |
| Solitude |
| L’Infini |
| Rêve de feu |
| Amour |
| Adieu |
| Le Doute |
| L’Esprit du Mal |
| L’Orgie |
| Sans Dieu |
| Le Fantôme |
| Chute fatale |
| Le Supplice de Mézence |
| Les Générations du Mal |
| Intercession maternelle |
| La Délivrance, ou vision de l’avenir |
| Sursum Corda |
| L’Idéal |
| Réalité |
target="_blank" rel="nofollow"> Charcoal sketches online at ArtRenewal Center Museum
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