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1067:, could there be cited within the same period a rise in prices of at all the same proportion. Thus the first state of the "Stryge" â that "with the verses" â selling under the hammer in 1873 for ÂŁ5, sold again under the hammer in 1905 for ÂŁ100. The first state of the "Galerie de Notre Dame" â selling in 1873 for ÂŁ5 and at M. Wasset's sale in 1880 for ÂŁ11, fetched in 1905, ÂŁ52. A "Tour de l'Horloge," which two or three years after it was first issued sold for half a crown, in May 1903 fetched f70. A first state (Wedmore's, not of course M. Delteil's "first state," which, like nearly all his first states, is in fact a trial proof) of the "Saint Ătienne du Mont," realizing about ÂŁ2 at M. Burty's sale in 1876, realized ÂŁ60 at a sale in May 1906. The second state of the "Morgue" (Wedmore) sold in 1905 for ÂŁ65; and Wedmore's second of the "Abside," which used to sell throughout the seventies for ÂŁ4 or ÂŁ5, reached in November 1906 more than ÂŁ200. At no period have even
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879:. Some of them are insignificant. That is because ten out of the twenty-two were destined as headpiece, tailpiece, or running commentary on some more important plate. But each has its value, and certain of the smaller pieces throw great light on the aim of the entire set. Thus, one little plateânot a picture at allâis devoted to the record of verses made by MĂ©ryon, the purpose of which is to lament the life of Paris. MĂ©ryon aimed to illustrate its misery and poverty, as well as its splendour. His etchings are no mere views of Paris. They are "views" only so far as is compatible with their being likewise the visions of a poet and the compositions of an artist.
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to prepare his own book on the voyage, but apparently also because of his health, his doubts about his ability to command men, and because his next posting was unclear. Because he had not reported back to Toulon, at least months of his pay were caught in a bureaucratic tangle, recorded at great length in the naval records. Although the final recommendation for a ministerial decision, the following March, supported paying him, it is not clear whether this actually happened. Several of the memorandums mention his dire financial circumstances.
927:, often drew it with want of appreciation. It is evident that architecture must enter largely into any representation of a city, however much such representation may be a vision, and however little a chronicle. Even the architectural portion of MĂ©ryon's labour is only indirectly imaginative; to the imagination he has given freer play in his dealings with the figure, whether the people of the street or of the river or the people who, when he is most frankly or even wildly symbolical, crowd the sky.
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1027:, a doctor having certified him as "suffering from a profound disturbance of the mental faculties" on 10 May. Two days later, his initial examination at Charenton assessed him as having "Deep melancholy, ideas of persecution which he considers to be deserved. depressive ideas. he considers himself deeply guilty towards Society." This stay lasted fourteen months until 10 September 1859, by which time he was assessed as improved, including by himself in a later letter.
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848:; but these include the works of his apprenticeship and of his decline, adroit copies in which his best success was in the sinking of his own individuality, and more or less dull portraits. Yet among the seventy-two prints outside his professed series there are at least a dozen famous ones. Three or four beautiful etchings of Paris do not belong to the series at all. Two or three others are devoted to the illustration of
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his etchings or could sell them only for about lod. apiece. Disappointment told upon him, and, frugal as was his way of life, poverty must have affected him. He became subject to hallucinations. Enemies, he said, waited for him at the corners of the streets; his few friends robbed him or owed him that which they would never pay. A few years after the completion of his Paris series he was placed in the
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artists had reached by the 1840s are rather conventional. Some critics have been intrigued by the contrast between his lack of artistic engagement with the very different visual cultures he encountered on his voyage, some at this date relatively little subdued by
Western expansion, and his exploration of his return to Paris of a sometimes sinister exoticism based on Gothic Paris. In particular
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817:. Having proved himself a skilled copyist, he began doing original work, notably a series of etchings which are the greatest embodiments of his greatest conceptionsâthe series called "Eaux-fortes sur Paris." These plates, executed from 1850 to 1854, are never found as a set and were never expressly published as such, but they nonetheless constituted in MĂ©ryon's mind an harmonious series.
1020:"thought him potentially violent", and he later "threatened visitors with a pistol". There may have been another young girl, as various accounts mention the daughter of the owner of the restaurant where he usually ate, who was not Neveu. Several accounts mention his obsessive digging-up of the back-garden of the house he was staying, apparently looking for buried bodies.
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render the characteristics of the city, it was necessary that he should know how to portray a certain kind of waterâriver-water, mostly sluggishâand a certain kind of skyâthe grey obscured and lower sky that broods over a world of roof and chimney. This water and this sky MĂ©ryon is thoroughly master of; he notes with observant affection their changes in all lights.
809:, from whom he learnt something of technical matters, and to whom he always remained grateful. MĂ©ryon had no money, and was too proud to ask help from his family. He was forced to earn a living by doing work that was mechanical and irksome. Among learners' work, done for his own advantage, are to be counted some studies after the Dutch etchers such as
196:; Charles was back in Paris by May 1835. Although in most respects he enjoyed the visit, and had happy memories of it, it appears that "the relationships within the family were not explained" to Charles, and perhaps other members, and this, the last time he would see his father, contributed to a growing resentment Charles felt towards him.
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Equally, Pierre-Narcisse was rather more generously supported by
Lowther, who saw her and Fanny when he was in Paris, but she was keen to keep him unaware of the existence of Charles, although the two fathers were acquaintances in London. Both fathers apparently continued to know her under her stage name of "Narcisse Gentil".
852:, a city in which the old wooden houses were as attractive to him for their own sakes as were the stonebuilt monuments of Paris. Generally it was when Paris engaged him that he succeeded the most. He would have done more work if the material difficulties of his life had not pressed upon him and shortened his days.
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in his naval period, Meryon had displayed behaviours that were initially interpreted as eccentricity, for which there was considerable tolerance in
Parisian artistic circles, but later came to be seen by friends as "the beginnings of a dysfunction". By the mid-1850s he had periods of depression when
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is the general favourite and is commonly held to be MĂ©ryon's masterpiece. Light and shade play wonderfully over the great fabric of the church, seen over the spaces of the river. As a draughtsman of architecture, MĂ©ryon was complete; his sympathy with its various styles was broad, and his work on its
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for several weeks, when M Bléry could not leave Paris. By
December he had accepted an invitation to move in to their house. He started to produce etchings, mostly copying landscape and animal paintings, or other prints, that allowed him to develop his technique, and could also be sold print-dealers,
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A number of drawings he made of Maori men with heavily tattooed faces survive, but most of his drawings from the voyage show landscapes, houses, or boats sailing near the coast. His drawing of full human figures (or animals) shows his lack of training, but these views of areas where very few
Western
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three times, seeing her for the last time in 1838. He continued to correspond with Pierre-Narcisse, and pay maintenance for his son, probably of 600 francs a year. The letters became increasingly uncomfortable, and she only found out about his marriage, which had been in 1823, by accident in 1831.
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He developed an obsession with a very young girl in the neighbourhood, Louise Neveu, who lived next door to him between at least 1851 and 1856. His "aggressive and persistent but unsuccessful courting" was an attempt to marry her, for which he negotiated with her parents through a friend. Her father
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Dealing perfectly with architecture, and perfectly, as far as concerned his peculiar purpose, with humanity in his art, MĂ©ryon was little called upon by the character of his subjects to deal with Nature. He drew trees but badly, never representing foliage happily, either in detail or in mass. But to
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In May 1847, when his extended leave came to an end, he should have returned to Toulon, but had not. The work on the naval publication, and much else in naval administration, had been thrown into confusion by the political situation, and in July 1848 Meryon decided to resign his commission, possibly
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By the end of his first half-year he was ranked 15th, then 19th six months later. By
September 1839 he was 11th out of 60 remaining in his class. He "consistently scored a near-perfect mark in Drawing", did well in English (after greatly improving this when with his father) and Gunnery. The training
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Generally speaking, his figures are, as regards draughtsmanship, "landscape-painter's figures." They are drawn more with an eye to grace than to academic correctness. But they are not "landscape-painter's figures" at all when what we are 'concerned with is not the method of their representation but
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He was a bachelor, yet almost as constantly occupied with love as with work. The depth of his imagination and the surprising mastery which he achieved almost from the beginning in the technicalities of his craft were appreciated only by a few artists, critics and connoisseurs, and he could not sell
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voyage in August 1846, Meryon was given eight months leave, and went to Paris. He hoped, and rather expected, to be placed at the end of his leave with the team working on the official scientific publication of the voyage, especially as regards the illustrations; the French Navy had a tradition of
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Relations between the French and
British populations, and even their officials, were cordial or friendly, despite the British tightening their control over this period, for example restricting the fishing rights allowed to French boats. But both sides were aware the question of French claims would
119:, though about to undergo a considerable revival. His best period lasted between 1850 and about 1856, before his increasing mental illness reduced his output. He spent fourteen months in an asylum in 1858 and 1859, then continued to work until 1866, when he re-entered the asylum for the final time.
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tore down buildings to reconstruct Paris with wide boulevards. Nearly every etching in the series reveals technical skill, but even the technical skill is exercised most happily in those etchings which have the advantage of impressive subjects, and which the collector willingly cherishes for their
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by the chaplain of the
British Embassy in Paris. In 1824 his father legally acknowledged paternity, and he was re-registered as "Meryon", although apparently usually known as "Gentil" as a child. For over a year after his birth he lived with friends of his mother some 20 kilometres outside Paris,
92:, an English doctor, returning to Paris for the birth, and remaining there for the rest of her life. The household in Paris was supported financially by both fathers, but more so by Lowther, whose indirect funding remained important throughout Meryon's life; he made very little money from his art.
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Meryon later said that he first became attracted to a naval career by "the animation of the quays of
Marseilles", on his visit to his father, and from his letters to his father it is clear this had become a clear intention by the end of 1835. He entered the Naval school in Brest in November 1837,
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After seven years, during which both his life and his art had shown signs that his condition had remained with him to some degree, he was readmitted to
Charenton for the final time on 10 October 1866. Their records of "regular monthly assessments offer a story of persistent violent outbursts,
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The drawing seems to have been intended to be redone on a larger scale in oils, and many writers on Meryon have thought that it was the failed attempt to do this that made Meryon realize the impossibility of pursuing a career in a technique using colour. In early 1848 he met the engraver
991:, which was highly absorbentâand pale green, which MĂ©ryon in his colour blindness would not have perceived as the typical viewer. Ultimately, however, his stated preference was for cleanly-wiped, clear prints of a uniform quality, which determination ironically positioned him against the
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reached Akaroa again on 8 February 1845, hoping to find that its replacement ship had arrived, and they could return to France. But the ship had not come, and in March tensions between the Maori and Europeans had sharply increased, increasing the warmth of local Franco-British relations.
152:, around 1818. In 1821, when she was appearing as a dancer at the London Opera, Pierre-Narcisse became pregnant by Meryon, and returned to Paris with Fanny, Dr Meryon having left for Florence. Charles Meryon was born in the rue Rameau, round the corner from the then site of the Opera.
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MĂ©ryon's epic work was coloured strongly by his personal sentiment, and affected here and there by current events â in more than one case, for instance, he hurried with particular affection to etch his impression of some old-world building which was on the point of destruction, as
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intense melancholy, recurrent hallucinations and the conviction that even his old friends were conspiring against him". Although he was sometimes well enough to be taken out for trips, his condition deteriorated, he stopped eating, and he died in Charenton on 14 February 1868.
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211:. After this his half-sister Fanny went to live in England, where she married in 1840. She remained in touch with him for the rest of his life. He had his grandmother still in Paris, until her death in 1845, and various cousins and family friends in and around Paris.
786:, he worked in front of his chosen scene not just in making drawings, but etching his plates. Unlike Meryon, he had little interest in architectural subjects, but both enjoyed strong contrasts of light and dark. Meryon later claimed that his long-term aim in learning
510:; possibly he had not realized he had the condition before. At this time he seems to have hoped the condition would improve. Courdouan's style made much use of strong contrasts of light and dark tones, which is also characteristic of Meryon's art in the 1850s.
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He had become seriously interested in art during his naval career, starting to take lessons. He gradually and reluctantly realized that his colour-blindness ruled out painting, and by 1848 settled on etching, then out of favour as a medium for
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73:. Although now little-known in the English-speaking world, he is generally recognised as the most significant etcher of 19th century France. His most famous works are a series of views powerfully conveying his distinctive Gothic vision of
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983:, or leave softer edges and richer darks by ample surface tone. His aesthetics were often dictated by his paper, of which he endeavored to acquire the finest available. His more defined works he printed on 'Hudelist' paper, from a mill in
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in Sydney in 1843. He made busts and heads of Maori people, none of which have survived. After a dead whale washed up at Akaroa he made a coloured plaster model of whale nearly two metres long, which was later placed on display in the
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was a pupil some years later. He remained there until 1836, apart from a period with his father in 1834â35, and it seems to have been a generally happy time in his life. In 1834 his father, with his wife and children, was living in
553:("The Admiralty"), the last Paris scene, of 1865, include fishing boats from Oceania, and whales hunted or ridden, by harpoon-wielding horsemen. In this case the figures in the sky were present from the first state of the print.
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and the course lasted two years. The pupils almost never set foot on shore, and Meryon's claim to have not done so for 22 months seems plausible. The routine and discipline were harsh, but Meryon made life-long friends, including
721:. An early notebook (1847â48) with an ambitious list of possible subjects shows a predominance of maritime subjects, many with specific settings drawn from his voyage, such as a scene of Maoris fighting and an
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in 1807 with the stage name of Narcisse Gentil. Her appearances there stop in 1814, and it was presumably about this time that she moved to London, where she became the mistress of Viscount Lowther, the future
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in London for ÂŁ4,375 in 2009, but an especially good impression of one of these had fetched ÂŁ11,500 in 1998. In 2018 Meryon's etchings fetch on the market (in the UK) from between ÂŁ1,500 to ÂŁ7,500 GBP.
782:, who according to some accounts had taken an interest in his du Fresne drawing. BlĂ©ry (1805â87) was a respected and technically very competent etcher, mostly producing landscapes. A precursor of the
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Starting at the age of 16, Meryon spent ten years as a naval cadet and finally officer, which included tours of the Mediterranean, and a four year voyage around the world, for most of it based in
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visited not very frequently by his mother, sister and grandmother. He could walk at 9 months. He was moved back to Paris in January 1823, and from late 1825 Fanny was at a boarding school.
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in the North of France, which had the uniform, smooth quality ideal for sharp images. His more gauzy works, by contrast, were printed on a softer, felt-like Morel Lavenere paper produced in
872:, skilled practitioners of etching. The best portrait we have of him is one by Bracquemond under which the sitter wrote that it represented "the sombre MĂ©ryon with the grotesque visage."
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717:, who worked at the War Ministry, who agreed to take him as a student in August 1847, setting him drawing exercises copying famous classical statues and drawings, in the "conventional"
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Meryon joined Bléry's workshop, and was soon on excellent terms with him and his family. In September 1848 he joined Mme Bléry and her daughter on a holiday, and sketching tour, in
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In a letter to his father dated 5 November 1846 Meryon announced that he was "getting ready to give myself completely to the study of Art". He first approached a minor pupil of
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in drawing covered not only making charts and sketches of coastlines, important skills for naval officers, but "picturesque and linear" drawing of heads and landscapes.
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192:, where Charles joined them for an extended visit in May 1834; he had previously seen him on a few occasions. They spent the winter in north Italy, reaching as far as
438:"to buy stores, particularly wine, which was very expensive in Sydney". After staying two weeks they set off on the return voyage on 6 November 1844, stopping at the
99:, where the French then maintained an imperial toe-hold. On his return he fought and was wounded in a pro-government militia during political disturbances in 1848.
663:, from the piano-making family. The visit to London was notable for his refusal to visit his father, who was then living there. The two had corresponded during the
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860:. Briefly restored to health, he came out and did a little more work, but at bottom he was exhausted. In 1867 he returned to his asylum, and died there in 1868. In
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Meryon's mother was a dancer at the Paris Opera, who moved to London around 1814 to dance there. In 1818 she had a daughter by Viscount Lowther, the future
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In his technique, MĂ©ryon experimented variously in his brief career, and at times within individual works. In two different impressions of his Paris view
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Meryon had sketched in Athens, Algiers and other exotic places he had visited, and by late 1840 decided to take lessons in drawing from the Toulon artist
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701:, which Meryon generally supported. He "spent almost three days in the street, broken only by hours snatched for sleep", and was slightly wounded.
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reached it on 18 January 1843, and was replaced in April 1846. The outward voyage began on 15 August 1842, heading across the Atlantic, passing
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the purpose of their introduction. They are seen then to be in exceptional accord with the sentiment of the scene. Sometimes, as in the case of
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678:, which he visited on his way back to Paris, he spent much of his time on conventional museum visiting, also going to the theatre in London.
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Besides the twenty-two etchings "sur Paris", Meryon did seventy-two etchings of one sort and another ninety-four in all being catalogued in
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It is worthwhile to note the extraordinary enhancement in the value of MĂ©ryon's prints. Probably of no other artist of genius, not even of
1016:, where Napoleon I had died. He thought several other artists who had died had been done away with by the government, probably by poison.
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at this time, but had spent the years 1810 to 1817 in the Middle East as (at that point unqualified) doctor to the aristocratic traveller
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he made drawings, many of which he turned into etchings some twenty years later. He also dabbled in sculpture, having bought some
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on 14 June, staying a week. Meryon's visit to Napoleon's final home would come to haunt him in later years. After a brief stop at
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1212:(House with a Turret, No. 22, Street of the School of Medecine, Paris), 1861. The figures in the sky were added in later states.
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In his last Paris etchings, or his last revisions of them, the fantastic flying creatures that appear in the sky in prints like
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446:, which had just come under French "protection", and where there were a total of seven French naval ships at that point. The
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Though while alive he sold prints for francs, in 2014 prints were for sale under US$ 1000. Four of the Paris prints sold at
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355:, or Port Louis-Philippe as the French still called it, then a small whaling-station, with a mostly French population. The
697:(probably obligatory for a naval officer on leave), which played a crucial role in resisting the uprising on behalf of the
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washes. He took full watercolour up in November 1841, when a letter to his father is the first documented mention of his
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By late in 1826 he had entered the "Pension Savary", one of a number of small boarding schools in the Paris suburb of
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at the Louvre in 1848. In 1883 it was turned into an etching by Victor-Louis Focillon (father of the art historian
1012:; he traced this to "tactless words on the abuse of force" which he had inscribed in 1846 in the visitor's book at
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in Brazil was reached in October, where they spent nearly two weeks. They then changed direction, rounding the
324:, which the French government was not yet ready to accept as wholly a British territory; there were also French
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1245:"MĂ©ryon" was common in 19th-century sources (but never for his father), but is now not usual, even in French
939:âwith the two passing women bent together in secret converseâthey at least suggest it. And sometimes, as in
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65:(sometimes MĂ©ryon, 23 November 1821 â 14 February 1868) was a French artist who worked almost entirely in
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in late December, staying only a week, before sailing for Akaroa, which they reached on 11 January 1843.
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was to participate in illustrating an account, either the official one or his own, of the voyage of the
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from 18 August. They finally landed at Toulon on 28 August, four years and 13 days after they left it.
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various styles unbiased and of equal perfectionâa point in which it is curious to contrast him with
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Meryon's mother, Pierre-Narcisse Chaspoux, was a Parisian, born in 1791, who became a dancer in the
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At least two finished pastel drawings survive from this period: a dramatic whaling scene, and the
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943:, it is their expressive gesture and eager action that give vitality and animation to the scene.
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403:. In October they set off for Australia, via Kororareka near the tip of the North Island, today
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2023:, #s 700â702, 1971 (originally), The Metropolitan Museum of Art (fully available online as PDF)
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has the forceful demonic energy which at that date French culture often attributed to exotic
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The school for future naval officers had only been founded in 1827. It was based on the ship
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from 1842 to September 1846. The purpose of the voyage was to promote French interests in
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Charles was registered at birth as a "Chaspoux", and eventually (in 1829) baptised in the
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he could do nothing, and developed a conviction that he was being persecuted by Emperor
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voyage, and the day he docked in Toulon he wrote to his father offering to visit him in
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in October 1839, as a cadet, second class. Initially he lodged onshore. After a trip to
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288:(then Smyrna) in Turkey, with which he revisited Greece, then France, before visiting
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In July 1847 he visited his sister Fanny in London, where she lived with her husband
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140:. She had a daughter Frances (Fanny) by him in 1818. She was also friendly with Dr
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407:, where they stayed until early November. Less than 18 months later the so-called
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674:, not realizing he was no longer there. In London, and in the main art cities of
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The Sleep of Reason: Primitivism in Modern European Art and Aesthetics, 1725â1907
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having come 47th in the competitive entry exam, out of 68 candidates who passed.
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carrying troops, the ship left Toulon to join the French Levant squadron in the
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526:(National Museum of Natural History) in Paris, before being transferred to the
419:, the lowest rank of naval officer, although the news did not reach him on the
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2068:. Vol. 18 (11th ed.). Cambridge University Press. pp. 176â177.
935:, it is they who tell the story of the picture. Sometimes, as in the case of
689:, when Meryon's immediate neighbourhood saw some intense fighting around the
502:, but decided he did not have time to learn this at first, but studied using
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was to break out there. In November Meryon was, back in Paris, promoted to
110:, 1858, print based on a drawing made the night before he entered the asylum
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Retrospective diagnoses assess Meryon's behavior exhibiting symptoms of
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979:(1852) he could employ crisp lines through a well wiped plate without
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88:, a wealthy aristocrat and politician, and 1821 Charles Meryon by Dr
58:), 1853. Now Meryon's most famous print, though somewhat untypical.
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This article incorporates text from a publication now in the
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1580:, pp. 79â87, 100â104, 1999, Pennsylvania State University Press,
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Meryon's mother died in October 1838, when he was already in the
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Greniers indigĂšnes et habitations Ă Akaroa, presqu'Ile de Banks
336:. The French naval "New Zealand station" was to end while the
626:, Banks' Peninsula"), New Zealand, drawn in 1845, etched 1865
136:, then an unmarried Tory MP, junior minister, and friend of
1907:"Charles Meryon (1821â67), Schizophrenic Painter-Engraver"
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from parts of the world where the West was just reaching.
2020:
Prints & People: A Social History of Printed Pictures
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296:. In January 1842 he was promoted to cadet, first class.
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Central section of the book illustration after Meryon's
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interests to protect. A small French settlement on the
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The Catalogue Raisonné of the Prints of Charles Meryon
292:, then of great political interest to the French, and
144:, who had been a fellow boarder at 10 Warwick Street,
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Van Breda, Jacobus, "Charles Meryon: Paper and Ink",
1969:
Christie's, Sale 5992, "19th and 20th Century Prints"
1801:
van Breda, Jacobus. "Charles Meryon: Paper and Ink,"
693:
thrown up by the insurgents. He was a member of the
2100:
Catalogue Raisonne of the Etchings of Charles Meryon
891:
MĂ©ryon also taught; among his pupils was the etcher
888:
mysterious suggestiveness or for their pure beauty.
391:
be settled back in Europe. In May and June 1843 the
1180:(House with a Turret, Rue de la Tixeranderie), 1852
681:1848 saw rising political tensions in Paris, which
340:was returning home, when the replacement ship, the
1023:In 1858 he agreed to admit himself to the leading
864:, just before he was confined, he associated with
498:, who was then 30. He had thought of painting in
605:Large Native Hut on the Road from Balade to Puebo
1210:Tourelle, Rue de l'Ăcole de MĂ©decine, 22, Paris
967:("The Admiralty"), the last Paris scene, 1865
569:, New Zealand, where MĂ©ryon spent three years
8:
2146:Les Peintres graveurs du dix-neuviéme siÚcle
2110:Descriptive Catalogue of the Works of MĂ©ryon
2096:, 9780906030233 (now the standard catalogue)
462:set sail for home on the 16th. They passed
316:In the corvette "Le Rhin" he made a voyage
260:in February 1840, allowing Meryon to visit
155:His father, Dr Meryon, had been working at
528:Muséum d'Histoire naturelle de La Rochelle
458:finally arrived on 8 March 1846, and the
1959:, 16 September 2009, Sale 5867, Lot 327
1805:, Vol. 3 No. 3 (SeptemberâOctober 2013).
824:
2030:, vol. 3, no. 3, 2013, pp. 17â22.
1913:(in French). 39(S180) (S180): 159â165.
1769:
1757:
1267:
1238:
1167:
1101:
1038:Portrait of Charles Meryon, etching by
555:
805:He entered the studio of the engraver
280:. In April 1840 he transferred to the
1787:. Librairie de l'Art. 1894. pp.
659:, like Fanny's father a Conservative
134:William Lowther, 2nd Earl of Lonsdale
86:William Lowther, 2nd Earl of Lonsdale
7:
1957:Christie's, London, South Kensington
1148:("The Street of the Bad Boys"), 1854
524:Muséum national d'histoire naturelle
36:Portrait of Meryon, 1853 etching by
875:There are twenty-two pieces in the
652:taking these books very seriously.
351:The French base in New Zealand was
2196:Charles MĂ©ryon exhibition catalogs
1919:10.1111/j.1600-0447.1964.tb04905.x
1161:Chevrier's Cold Bath Establishment
683:overthrew the monarchy in February
585:fishing, drawn 1845, etched 1863.
244:Meryon joined his first ship, the
25:
830:La Galerie de NĂŽtre-Dame in Paris
2226:19th-century French male artists
2038:
1784:L'art: revue mensuelle illustrée
1217:
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1178:Tourelle, Rue de la Tixeranderie
1170:
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1138:
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612:
593:
574:
558:
334:established on an earlier voyage
1971:, London, 2 July 1998, Lot 27,
1698:National Library of New Zealand
1683:National Library of New Zealand
1075:risen so swiftly and steadily.
772:National Library of New Zealand
607:, drawn in 1845, etched in 1863
163:, who he was later to visit in
2088:, 1990, Garton & Company,
2003:, 1999, Garton & Company,
1003:As early as his voyage on the
426:At the end of August 1844 the
344:, was wrecked on the coast of
1:
2221:19th-century French engravers
1597:Collins, 223â225; Mayor, #701
1114:("The Notre Dame Pump"), 1852
910:, 1854, fourth state of nine.
622:, ("Native Barns and Huts at
513:Throughout his voyage on the
977:La Pompe Notre Dame de Paris
466:in early May, and landed at
2106:, Harold J. L. Wright, 1924
758:(by Maoris in 1772, at the
490:Art during his naval career
478:and spent four days at the
2257:
2084:Schneiderman, Richard J.,
1146:La Rue des Mauvais Garçons
941:L'Arche du Pont Notre Dame
937:La Rue des Mauvais Garçons
643:("The Small Bridge"), 1850
423:until July the next year.
2241:People with schizophrenia
2034:, Accessed 22 Nov. 2020.
1477:Collins, 49â52, 61, 72â74
965:Le Ministere de la Marine
802:if only for modest sums.
551:Le Ministere de la Marine
1054:Value of Meryon's prints
754:Captain Marion du Fresne
743:Captain Marion du Fresne
411:between the British and
386:, made during his voyage
363:, but not landing until
2065:EncyclopĂŠdia Britannica
1905:Lundstroem, L. (1964).
1576:Connelly, Frances F.,
647:On his return from the
474:, they passed into the
300:Voyage around the world
2185:(1896; 2nd ed., 1905).
2001:Charles Meryon: A Life
1911:Acta Psychiatr. Scand.
1679:record for the etching
1053:
1043:
1014:Longwood, Saint Helena
968:
957:
911:
833:
747:
699:French Second Republic
685:and culminated in the
644:
387:
313:
111:
81:, dying in an asylum.
59:
40:
2155:Lettres de Baudelaire
2133:Francis Seymour Haden
1986:on www.invaluable.com
1194:Saint-Etienne-du-Mont
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877:Eaux-fortes sur Paris
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454:The replacement ship
381:
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105:
46:
35:
916:Abside de Notre Dame
908:Abside de Notre Dame
893:Gabrielle-Marie Niel
832:(1853), 274 Ă 161 mm
815:Adriaen van de Velde
661:Member of Parliament
480:French North African
405:Russell, New Zealand
161:Lady Hester Stanhope
142:Charles Lewis Meryon
90:Charles Lewis Meryon
2127:Etching and Etchers
1984:Meryon auction lots
1772:, pp. 176â177.
1225:La Rue des Chantres
1131:The Exchange Bridge
1112:La Pompe Notre Dame
1092:Gallery of etchings
995:he helped inspire.
925:Gothic architecture
858:asylum at Charenton
719:academic curriculum
715:Jacques-Louis David
709:Professional artist
399:for ten days, then
201:French Naval School
157:St Thomas' Hospital
123:Birth and childhood
2231:Artists from Paris
2052:Wedmore, Frederick
1877:Collins, Chapter 9
1700:; Collins, 100â104
1441:Collins, 40, 50â52
1432:Collins, pp. 36â37
1396:Collins, pp. 28â30
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687:June Days uprising
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2171:Frederick Wedmore
1127:Le Pont-au-Change
1097:Etchings of Paris
1040:FĂ©lix Bracquemond
866:FĂ©lix Bracquemond
838:Frederick Wedmore
752:Assassination of
741:Assassination of
723:Assassination of
496:Vincent Courdouan
369:Cape of Good Hope
173:Church of England
138:the Prince Regent
38:FĂ©lix Bracquemond
16:(Redirected from
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308:Drawing made in
185:Camille Pissarro
71:colour blindness
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2056:MĂ©ryon, Charles
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2015:Mayor, A. Hyatt
2011:, 9780906030356
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77:. He also had
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153:
151:
147:
146:Charing Cross
143:
139:
135:
130:
122:
120:
118:
109:
104:
100:
98:
93:
91:
87:
82:
80:
76:
72:
68:
64:
57:
53:
49:
45:
39:
34:
30:
27:French artist
19:
2182:
2178:
2174:
2164:
2161:LoĂżs Delteil
2154:
2145:
2136:
2126:
2116:
2115:
2109:
2104:LoĂżs Delteil
2099:
2085:
2078:
2077:
2063:
2028:Art in Print
2027:
2019:
2000:
1979:
1972:
1964:
1952:
1943:
1910:
1900:
1895:Collins, 253
1891:
1886:Collins, 245
1882:
1873:
1868:Collins, 189
1864:
1859:Collins, 187
1855:
1846:
1841:Collins, 183
1837:
1828:
1823:Collins, 180
1819:
1814:Collins, 180
1810:
1803:Art in Print
1802:
1797:
1783:
1777:
1770:Wedmore 1911
1765:
1758:Wedmore 1911
1741:
1736:Collins, 108
1732:
1723:
1718:Collins, 106
1714:
1705:
1689:
1674:
1665:
1656:
1647:
1638:
1629:
1620:
1611:
1602:
1593:
1577:
1572:
1563:
1554:
1545:
1536:
1527:
1518:
1509:
1500:
1491:
1482:
1473:
1464:
1455:
1446:
1437:
1428:
1419:
1410:
1401:
1392:
1383:
1374:
1365:
1356:
1347:
1338:
1329:
1320:
1311:
1302:
1293:
1288:Collins, 5â9
1284:
1279:Collins, 1â6
1275:
1268:Wedmore 1911
1241:
1224:
1209:
1192:
1177:
1160:
1145:
1130:
1126:
1111:
1096:
1095:
1082:
1062:
1045:
1029:
1022:
1018:
1010:Napoleon III
1004:
1002:
981:surface tone
976:
974:
970:
964:
950:
940:
936:
932:
929:
915:
913:
907:
890:
885:Napoleon III
881:
876:
874:
854:
845:
841:
835:
829:
807:EugÚne Bléry
804:
796:
791:
780:EugÚne Bléry
776:
751:
749:
740:
725:Captain Cook
722:
712:
703:
680:
664:
654:
648:
646:
640:
619:
604:
581:People from
550:
548:
539:
536:
514:
512:
493:
468:Saint Helena
459:
455:
453:
447:
427:
425:
420:
392:
389:
383:
356:
350:
341:
337:
330:South Island
315:
284:near modern
281:
245:
243:
233:
231:
227:
223:
198:
178:
170:
154:
126:
113:
94:
83:
69:, as he had
62:
61:
55:
52:The Gargoyle
51:
47:
29:
2216:1868 deaths
2211:1821 births
2183:Fine Prints
2123:PG Hamerton
1694:the drawing
1660:Collins, 99
1633:Collins, 94
1624:Collins, 87
1615:Collins, 95
1567:Collins, 67
1513:Collins, 67
1504:Collins, 67
1468:Collins, 50
1450:Collins, 40
1423:Collins, 35
1414:Collins, 34
1405:Collins, 32
1369:Collins, 22
821:Mature work
788:printmaking
764:Paris Salon
732:in 1779).
587:the drawing
544:cult images
534:) in 1926.
532:La Rochelle
500:watercolour
430:sailed for
322:New Zealand
215:In the Navy
129:Paris Opera
97:New Zealand
56:The Vampire
2205:Categories
2151:Baudelaire
2094:0906030234
2079:Catalogues
2009:0906030358
1994:References
1588:0271041838
1085:Christie's
1073:Rembrandts
862:middle age
691:barricades
565:Plaque in
432:Valparaiso
397:Wellington
282:Montebello
258:Aegean Sea
190:Marseilles
106:Meryon by
2054:(1911). "
1935:143487056
953:Pont Neuf
933:La Morgue
540:Le Stryge
464:Cape Horn
440:Marquesas
332:had been
312:, 1844â45
48:Le Stryge
2167:(1907)';
1927:14345190
1065:Whistler
989:Glaignes
985:Hallines
799:Normandy
482:port of
401:Auckland
395:visited
382:Drawing
361:Tenerife
294:Carthage
220:Training
209:Brittany
194:Florence
117:fine art
2157:(1907);
2062:(ed.).
2049::
1696:in the
1133:), 1854
1059:To 1911
850:Bourges
676:Belgium
326:whaling
278:Mycenae
266:Corinth
254:Algiers
165:Lebanon
67:etching
2175:MĂ©ryon
2129:(1868)
2092:
2058:". In
2043:
2007:
1933:
1925:
1584:
1227:, 1862
1197:, 1852
1163:, 1864
1079:Modern
1069:DĂŒrers
956:, 1853
842:MĂ©ryon
811:Zeeman
730:Hawaii
668:'s
624:Akaroa
567:Akaroa
444:Tahiti
417:ensign
353:Akaroa
310:Tahiti
262:Athens
250:Toulon
148:, off
2117:Books
2032:JSTOR
1947:Mayor
1931:S2CID
1233:Notes
899:Style
504:sepia
456:Seine
436:Chile
413:MÄori
365:Bahia
342:Seine
290:Tunis
286:Ä°zmir
274:Melos
270:Argos
246:Alger
234:Orion
205:Brest
181:Passy
75:Paris
2177:and
2090:ISBN
2005:ISBN
1923:PMID
1582:ISBN
1005:Rhin
914:The
868:and
844:and
813:and
792:Rhin
728:(in
672:Nice
665:Rhin
649:Rhin
530:(in
515:Rhin
460:Rhin
448:Rhin
442:and
428:Rhin
421:Rhin
393:Rhin
357:Rhin
338:Rhin
276:and
1915:doi
1789:352
1071:or
951:Le
840:'s
434:in
248:at
207:in
203:in
54:or
2207::
2173:,
2163:,
2153:,
2144:,
2135:,
2125:,
2102:â
2017:,
1929:.
1921:.
1909:.
1791:â.
1750:^
1681:,
1250:^
1099::
1050:.
895:.
794:.
603:,
348:.
272:,
268:,
264:,
241:.
183:;
1937:.
1917::
1129:(
50:(
20:)
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