The scene is probably located on one of the high pasturelands of the Pyrenees. Rosa Bonheur took a trip there in 1850 and brought back many studies that she used throughout her career. [Metropolitan Museum of Art]
La Parisienne—the Parisian woman—was celebrated worldwide as the quintessence of feminine beauty, fashion, and taste. Consider the regal sitter here. Formally posed against a richly patterned, painted leather backdrop, she wears an elaborate, Elizabethan-style evening dress with a standing lace collar and quilted, pearl-studded sleeves. Coolly surveying the viewer, she is the ultimate French fashionista—the essence of high-style contemporary chic. [Chrysler Museum of Art]
Pascal Dagnan-Bouveret: Wedding at the Photographer's
Wedding at the Photographer's is a valuable commentary on the new craze for portrait photographs, which promised to document individuals and formal family occasions for posterity with a degree of verisimilitude hitherto unimaginable. The scene is the inside of a photographer’s studio, where a young man and woman are being photographed in their wedding finery. The anecdotal interest of the work shifts from the couple to several humorous vignettes that occupy different sections of the composition. These include a young girl in blue dress watching poutingly what is occurring inside the studio and the photographer going about his work completely oblivious to everything around him. The painting, as was noted by contemporary critics, responded to the public’s interest in verisimilitude – as documented by its fascination with photography itself. The artist recorded objects in microscopic detail, for example, the mirror at at the left, in which there is a small calling card advertising the photographer and giving his address in Vesoul. This detail would have gone unnoticed except by those close to the artist. Even though Paris is given in the inscription as the place where the work was completed in 1878-79, we know from letters that the painter was spending more and more time in the Haute-Saone region near Vesoul, its capital.
Since Dagnan-Bouveret wrote about the painting in a letter to Anne-Marie in early 1879, it is also known that he researched the theme before beginning the composition. He actually visited the studio of a photographer in Paris and made a small study of the rooms (perhaps more than one), in order to explore the way in which the background could be integrated with his figures. He also had the Parisian photographer take his picture, which he eventually sent to his fiancée along with a photograph of his canvas Manon Lescant. When Wedding at the Photographer's was exhibited at the Salon, it was extremely well positioned and received many compliments. Yet the artist had a nagging sense of doubt about the picture, thinking it perhaps too clever; he was also troubled that the Salon had become too much of a showplace, where artists tried to outdo their peers. [Gabriel P. Weisberg, Against the Modern: Dagnan-Bouveret and the Transformation of the Academic Tradition, Dahesh Museum of Art, 2002, pp. 49-51]
In this battle picture, shown in the Salon of 1879, Détaille depicts an incident that he had observed on December 2, 1870, during the Franco-Prussian War. General Faron's soldiers are shown fortifying their new position at the town of Champigny-sur-Marne, near Paris, and breaking openings in the wall for cannons. General Faron is at the left, talking to an old gardener. The artist returned to the subject for a huge panorama of the battle (now destroyed) that he executed with de Neuville in 1882. [Metropolitan Museum of Art]