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  • Le Petit Palais - Firemen running to a blaze - petitpalais.paris.fr
    his studio and donated it to the City of Paris The scene depicts the outbreak of a fire in a Parisian street at night A workman in overalls with his arm in the air has raised the alarm The hand drawn fire cart has been wheeled out of the fire station Passers by a working class mother a staggering adolescent and a bourgeois couple stand back to leave it room for manoeuvre The firemen simulated setting off by torchlight for the painter but the idea for the painting goes back to a trip Courbet made to Holland which by his own admission was an important lesson in painting for him Rembrandt s The Night Watch 1642 which he saw in the Rijksmuseum in Amsterdam depicts the municipal guard setting off under the command of Captain Cocq As in the Burial at Ornans Paris Musée d Orsay the wheeling movement performed by the firemen disrupts the longitudinal perspective of the composition in which all the figures are grouped in the lower half of the canvas This movement which is exaggerated by arm gestures seems to extend beyond the canvas towards the visitor standing in front of it Courbet reserved the upper half of the painting for the urban landscape whose diagonal grounds punctuate the composition In a striking form of shorthand Courbet conjures up the urban renewal which is underway in the capital by juxtaposing a Gothic gate on the right symbolising the medieval town with a gas lamp symbolising the City of Light under construction The uprising during the coup d état on 2 December 1851 at Poissy fire station where Courbet was working put an end to the project Second Officer Jean Victor Frond depicted in the group of firemen sided with the Republicans He was brought before a

    Original URL path: http://petitpalais.paris.fr/en/collections/firemen-running-a-blaze (2015-11-09)
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  • Le Petit Palais - Portrait of Juliette Courbet - petitpalais.paris.fr
    Classical World Graphic Arts Photographic Collection Manuscrits et livres Base de données des oeuvres The Tour Donors Museum map Information resource center In 1 click Students Researchers Disabled visitors Press Corporate Partners Newsletter Portrait of Juliette Courbet Gustave Courbet Ornans Doubs 1819 La Tour de Peilz Suiss 1877 1844 Oil on canvas 77 5 x 62 cm Marks Inscriptions Hall marks Signed and dated bottom left Gustave Courbet 1844 Inventory

    Original URL path: http://petitpalais.paris.fr/en/collections/27/portrait-juliette-courbet (2015-11-09)
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  • Le Petit Palais - The Sleepers - petitpalais.paris.fr
    center In 1 click Students Researchers Disabled visitors Press Corporate Partners Newsletter The Sleepers Gustave Courbet Ornans Doubs 1819 La Tour de Peilz Swiss 1877 1866 Oil on canvas 135 x 200 cm Courbet who paved the way for Realism in the mid 19th century remained on the fringes of official art thanks to the support of a few collectors He asserted his originality through his depictions of women in particular Nudes with lifelike flesh shocked visitors to the Salon who were used to the white smooth nymphs of academic painting This painting one of Courbet s masterpieces is emblematic of the world of reverie and bliss of the painter who jubilantly celebrated the beauty of the body Painted specially for the diplomat Khalil Bey The Sleepers directly entered a private collection without having to face the censure of the Salon This type of transaction would be repeated with the delivery of the highly confidential Origin of the World to the same collector Paris Musée d Orsay A Turkish emissary based in Paris since 1860 Khalil Bey assembled a fine set of paintings from his own century He bought works by Delacroix Chassériau and Rousseau with discernment often through the intermediary of the dealer Durand Ruel The collector acquired Ingres ultimate masterpiece The Turkish Bath Paris Louvre Museum and was particularly interested in Courbet as a painter of women and sensuality Flattering his patron s taste the painter returned to a boudoir subject harking back to the licentious engravings and literary evocations of lesbian love Playing on the contrast between complexions and hair colour he represents two types of beauty intertwined in a tangle of silky sheets The contemporary aspect of the life size scene echoes Manet s Olympia Paris Musée d Orsay a painting in a very similar format

    Original URL path: http://petitpalais.paris.fr/en/collections/sleepers (2015-11-09)
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  • Le Petit Palais - Young Ladies on the Banks of the Seine (Summer) - petitpalais.paris.fr
    Renaissance The Western Christian World The Eastern Christian World The Classical World Graphic Arts Photographic Collection Manuscrits et livres Base de données des oeuvres The Tour Donors Museum map Information resource center In 1 click Students Researchers Disabled visitors Press Corporate Partners Newsletter Young Ladies on the Banks of the Seine Summer Gustave Courbet 1819 Ornans Doubs 1877 La Tour de Peilz Suisse 1857 Oil on canvas 174 x 206 cm These young women have come out from the city one hot summer s day to cool off by the waterside The realism of this very sensual scene is manifest in the frankness of the faces and postures This very modern subject prefigures the future popularity of the banks of the Seine celebrated by the Impressionists a generation later This work unique in its modern subject and unusually large format for a genre scene broke away from the conventions of the day Courbet always a provocateur unleashed a critical scandal by exhibiting the Young Ladies at the Salon in 1857 Marks Inscriptions Hall marks Signed bottom left G Courbet Donor testator or seller Gift from Etienne Baudry via Juliette Courbet in 1906 Inventory number PPP00377 Inventory number PPP00377 Room 4

    Original URL path: http://petitpalais.paris.fr/en/collections/27/young-ladies-banks-seine-summer (2015-11-09)
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  • Le Petit Palais - The print collector - petitpalais.paris.fr
    41 x 33 5 cm The prolific draughtsman Daumier frequently painted for himself often going back to the same subjects in successive versions This enthusiast caught up in the search for a print is one of those petit bourgeois figures close to Daumier s heart The Enthusiast illustrates the emergence in Balzac s France of a new type of collector under the Second Empire The establishment of the Society of Etchers in 1861 demonstrates a resurgence in interest on the part of enthusiasts in original prints which were more affordable than paintings for those of modest means While continuing to observe the lifestyle and personalities of his times Daumier sets aside the satirical bent of the Croquis de Salon Salon sketches to give his character a more universal appeal The meditative atmosphere is treated in chiaroscuro the monochrome engravings are subdued and the broad contours conjure up the peaceful seriousness of Chardin s interiors Very few reference points exist for the chronology and stylistic development of Daumier s paintings most of which remained in his studio with just a few scarce exceptions His output must have increased after he was laid off by the newspaper Le Charivari in 1860 since

    Original URL path: http://petitpalais.paris.fr/en/collections/print-collector (2015-11-09)
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  • Le Petit Palais - Landscape with a tomb - petitpalais.paris.fr
    In 1 click Students Researchers Disabled visitors Press Corporate Partners Newsletter Landscape with a tomb Théodore Géricault Rouen 1791 Paris 1824 Circa 1818 Oil on canvas 250 x 220 cm Shortly after failing to win the Prix de Rome Géricault set off for Italy in October 1816 No sooner had he arrived in Rome than he visited the Sistine Chapel to admire Michelangelo s frescos But it was in the streets in particular that the young painter found his inspiration The young Géricault was critical of the routine of the Rome School and kept his distance from the French artistic community He returned to Paris in the autumn of 1817 and began work on his monumental painting The Raft of the Medusa 1819 Paris Louvre Museum Landscape with a tomb whose genesis and intended destination remain a mystery was undoubtedly painted with two other large landscapes in 1818 when Géricault returned to France The vast vista punctuated with architectural elements conforms with the rules of landscape painting inherited from Poussin However it gives off an air of anxiety and strangeness signifying a new sensitivity that heralded Romanticism The mountains visible in the distance conjure up the barrier of the Alps which travellers must cross to reach Italy The cloudy sky adds a dramatic touch to the craggy site dominated by ruined architecture and the building perched on a rocky spur harks back to the ancient circular tomb of Cecilia Metella The small boat towards which the frightened couple are moving recalls Charon s boat which received the souls of the dead in mythology and carried them over the river Acheron At the centre of the composition are stocks on which human limbs are displayed referring with morbid realism to the torture inflicted on bandits who demanded ransom money on the

    Original URL path: http://petitpalais.paris.fr/en/collections/landscape-a-tomb (2015-11-09)
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  • Le Petit Palais - The Good Samaritan - petitpalais.paris.fr
    268 5 x 198 cm Born into a modest actively Republican family Aimé Morot pursued an exemplary career after receiving an academic training in the studio of Alexandre Cabanel Winner of the Prix de Rome in 1873 he used his stay at the Medici Villa as an opportunity to explore the Roman countryside on horseback His taste for travel and hunting subsequently took him to Africa and India On his return from his period of residency in Rome the young Morot drew inspiration from the Gospel according to Luke to paint his Good Samaritan The painting was exhibited in Paris at the Salon des Artistes français where he was awarded the medal of honour by his peers Heavily influenced by Spanish art of the 17th century Morot treated the parable of the Samaritan helping the wounded man with grave realism His vigorous style found favour with contemporary critics who paid tribute to the virtuosity of this fine painting Marie Bashkirtseff wrote enthusiastically in her diary This is the painting which has given me the most complete pleasure in my entire life Nothing jars everything is simple true and good Painted initially in a large format the work was reduced on

    Original URL path: http://petitpalais.paris.fr/en/collections/good-samaritan (2015-11-09)
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  • Le Petit Palais - The first funeral - petitpalais.paris.fr
    In 1 click Students Researchers Disabled visitors Press Corporate Partners Newsletter The first funeral Louis Ernest Barrias Paris 1841 Paris 1905 1883 Marble 220 x 135 x 110 cm This biblical group shows Adam and Eve carrying their son Abel the victim of the jealousy of his brother Cain The plaster won a Medal of Honour at the Salon of 1878 where it was considered as the highest manifestation of the feeling that sculpture can express While the sculpture contains formal references to Michelangelo and Bernin Barrias nonetheless sets the mourning scene in a fantastical Pre history evoked by the use of carved flint Adam has a fierce face with Gallic features another allusion to the early days of humanity In contrast the bodies of Eve and Abel hark back to the antique models revisited by the Renaissance The three characters are united in a tiered pyramidal composition which plays on the relationships between the bodies With this imaginary recreation of the first irruption of death Barrias brilliantly synthesizes the neo classical romantic and realist styles Inventory number PPS00007 Inventory number PPS00007 Acquisition details Purchased commissioned from the artist in 1878 Room 6 Roll your mouse over the exhibit to

    Original URL path: http://petitpalais.paris.fr/en/collections/first-funeral (2015-11-09)
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