HAMON, JEAN LOUIS, 1821-74; a French painter. At an early age he was destined to the priesthood, but his strong desire to become a painter finally triumphed over family opposition, and in 1840 he repaired to Paris. Here he received valuable counsel and encouragement from Delaroche and Gleyre, and in 1848 he made his appearance at the salon with "Le tombeau du Christ," and a decorative work, " Dessus de Porte." His paintings, up to 1849, had attracted little public notice, and he was content to accept a place in the manufactory of Sevres, but an enameled casket by his hand having attracted attention at the London international exhibition of 1851, he received a medal, and, re-inspired by success, left his post to try his chances again at the salon of 1852. "Le Comedic Humaine," which he then exhibited, turned the tide of his fortune, and "Ma n' y est pas" (purchased by the emperor) obtained for the artist a third-class medal. At the Paris international exhibition of 1855, when Eamon re-exhibited the casket of 1851, together with several vases and pictures, of which "L'Amour et son Troupeau," " Ce n' est pas moi," and " Une Gardeuse d' Enfants," were the chief, he received a. gold medal of the second class, and the ribbon of the legion of honor. In the following
year he was absent in the east, but in 1857 he reappeared with "Boutique a quatre Sous," "Papillon enchaine," " Cantharide esclave," " Devideuses," etc., in all, ten pic tures; " L' Amour en visite " was contributed to the salon of 1859, and " Vierge de Lesbos," " Tutelle," "La Voliere," "L'Escamoteur," and "La Souer ainCe," were all seen in 1861. Ha-mon now spent some time in Italy, chiefly at Capri, whence in 1864 he sent to Paris " L'Aurore Un Jour de Fiancailles." The influence of Italy was also. evident in " Les Muses a Pompa," his sole contribution to the salon of 1866, a work which. enjoyed great popularity and was re-exhibited at the international exhibition of 1867;. together with "La Promenade," and six other pictures of previous years. His last. work, "Le triste Rivage," appeared at the salon of 1873. It was painted at St. Raphael, where Hamon had finally settled in a little house on the shores of the Mediterranean, close by Alphonse Karr's famous garden. Ramon was remarkable for delicacy of color ing, as well as for effective grouping and general composition.