Page 41 - Gallery 19c Volume 3_Les Types de Paris_digital_Neat

20 John Hutton, “ ‘Les Prolos Vagabondent’: Neo-Impressionism and the Anarchist Image of the 29 Anna Green, French Paintings of Childhood and Adolescence, 1848-1886, Aldershot, Eng. and
Trimardeur,” Art Bulletin, vol. 72, no.2, June 1990, p. 302. Burltingon, VT, 2007, p.14.

21 The depiction of homeless or beggar families in art was already an established tradition: artists such as 30 Dr. Fonssagrives, Leçons d’hygiène infantile, Paris, 1882, p. 11. See also Edmond and Jules de Goncourt,
Paul Delaroche (1797–1856), Alexandre Antigna (1817-1878), and William Bouguereau (1825–1905) had The Goncourt Journals 1851–1870, trans. Lewis Galantière, London, 1937, p. 175; and Flaubert to his
also painted the subject, albeit with a far more romanticized gloss. mother, 14 November 1850, in “Correspondence,” Oeuvres completes, XII, Paris, 1922, p. 366.
Pelez’s specific subject – one he repeated more than once - may have had special meaning for him, as a
Spanish refugee himself. Indeed, several artists painting in France during this period had experienced 31 Daumier may also be credited with being among the few artists to champion the urban working class.
geographic displacement at one time in their lives: Emile Friant (1863–1932), whose portrait of Antonin
Proust (1832–1905) is included in this exhibition (cat. no. 10) – and who himself superintended the 32 This was particularly true under Pope Pius IX, the longest-serving pontiff in history (1846–78). In 1869
refugees in Paris during his tenure as secretary to Léon Gambetta (1838–1882) shortly after the Franco- he put forth the decree of Papal Infallibility, to the disgust and dismay of the majority of Catholics.
Prussian War – is but one example of many.
33 Wesley Reid Davis, Catalogue Deluxe of the Modern Masterpieces Gathered by the Late Connoisseur
22 This was a familiar framework for Salon images of the homeless, which often featured reassuringly William H. Stewart, New York, 1898, n.p.; see also Charles Yriate, Catalogue des tableaux, aquarelles
passive subjects – usually women and children, set against a neutral background (cf. Bouguereau’s La et dessins, mobilier artistique, belles tapisseries provenant de l’atelier Ferdinand Heilbuth, Galerie
Charité, shown at the 1865 Salon [Birmingham Museum and Art Gallery]). Still, Pelez cannot resist a bit Georges Petit, Paris, May 19-21, 1890, pp. 8–15.
of irony, and even gentle castigation: this modern Pietà is placed against a backdrop of advertisements Even the great academician Jean-Léon Gérôme (1824–1904) participated in the genre, winning top
inappropriately proclaiming a Grande Fête. honors for L’Éminence Grise (1873, Museum of Fine Arts, Boston) at the annual Salon.

23 Indeed, in Raffaëlli’s hands, many of the nineteenth-century’s most clichéd déclassés are spiritually 34 Inspired by the burgeoning medium of photography, Vibert sometimes treated his canvases with a
transformed into phoenixes, rising from the ashes. photo-reactive gesso, over which he laid layer upon layer of oil paint to achieve a crystalline effect.
For more on Vibert’s technique, as well as his use of photography, see “Vibert the Artist, Dead,”
24 Catalogue of works of Jean François Raffaëlli. Paintings, drypoints and etchings printed in color, The New York Times, July 29, 1902. For more on the genre of cardinal painting, see Eric M. Zafran’s
exh. cat., Art Institute of Chicago, 1900, p. 11. indispensable, Cavaliers and Cardinals: Nineteenth-Century French Anecdotal Paintings, exh. cat.,
Taft Museum of Art, 1992
25 ibid., p. 12. Raffäelli’s depictions of workers touches upon another contemporary concern: the
recognition of artists’ own labor in an age of mechanical reproduction. For a compelling take on the 35 The modest sizes of these works were meant to attract middle class collectors, whose homes could
theme, see Goeneutte’s Peintre au bord d’une rivière and Raffäelli’s Les Forgerons buvant, both in the not accommodate the grandes machines associated with the Salon. By midcentury, this reduction in
present exhibition (cat. nos. 12 and 20). scale was matched by a revolution in subject matter, with anecdotal scenes of every kind dominating
the market.
26 Jean-François Raffaëlli, Catalogue illustré des œuvres de Jean-François Raffaëlli, exposées 28 bis, Vibert’s works were also, it should be added, popular with the leading American collectors of the day:
avenue de l’Opèra, suivi d’une Étude des mouvements de l’art modern et du beau caractériste, Paris, William T. Walters (1820–1894), W. H. Vanderbilt (1821–1885), and Catharine Lorillard Wolfe
1884, p. 38. (1828–1887) all purchased paintings by this artist for their extravagant homes.

27 Reacting to Pelez’s unvarnished images of urban life, the critic Paul Lambert accused the artist of 36 See Charles Baudelaire, “Salon of 1859,” pp. 331–4, reprinted in Curiosités esthétiques, l’art
finding his models at the morgue (“Le Salon de 1886,” p. 46). romantique et autres œuvres critiques, Paris, 1868, p. 277.

28 “In [Baudry’s] works one detects sound and loving Italian studies, and that figure of a little girl called, 37 “Art at the Champ de Mars,” New York Times, December 21, 1891.
I think, Guillemette, had the honor of reminding more than one critic of the witty, lively portraits of
Velázquez,” (Charles Baudelaire, Oeuvres completes, ed. Claude Pichois, vol. II, Paris, 1975–76, p. 647).

Matthias H. Arnot's Picture Gallery., 1913
38 39