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193:, simply found it disgusting. The painting was, it said, one of a number in the Salon that were typical of the current age, as deplorable in their concept as in their execution, and as likely to inspire pity as to induce laughter. Since they had to be admitted to the Salon for political reasons, they might at least have been hidden away in an obscure corner rather than foolishly and pretentiously placed so as to gain the maximum attention. “Here, on a throne of paving stones, a sort of grocers boy raises himself up, supporting a wounded bootblack waving a large tricolour flag. Chimney-sweeps and manual workers running with blood and sweat hurry in every direction and crowd around the feet of quivering cadavers.”
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Political views also coloured critics’ opinions. Those who treasured memories of the glorious days of July 1830, like
Hilaire-Léon de Sazerac, found the painting lacking in spirit and fire, as well as rather too tidy a representation of the day’s tumultuous events. On the other hand the conservative
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surge towards the viewer with their weapons drawn, those in
Schnetz’s canvas move within the confines of his composition, removing any element of threat that a large canvas of the armed urban poor might imply. Among the crowds are several boys - in addition to the dying flagbearer, a boy on the left
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of 1834 but was never hung in its intended location during the July
Monarchy. It was placed in external storerooms, and thus escaped the fire at the City Hall in 1871. The subject was a popular one in the early 1830s. Other visual representations, often commissioned by the authorities, depicted the
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described it as a “deplorable aberration” on the part of the artist, wondering what could have impelled him to accept a commission so foreign to his talents. In painting this canvas, Planche concluded, Schnetz had altogether given up on painting, and judicious critics ought therefore to simply not
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conceded that the painting was better than an ugly ceiling one only wished to forget, but suggested that
Schnetz take himself off to Rome to benefit from the sunshine and recover some vigour before attempting to paint anything else.
73:. This emotive and romantic work focuses on the glorious death of the young hero on the barricades. A young student scales the barricade with his bayonet raised, pressing against his breast a working class youth who, like
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of the scene is carrying ammunition over the barricade, while immediately behind the young man in the centre of the canvas, looking in the same direction as him, is a drummer-boy, reminiscent of the figure of
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wondered which room of the HĂ´tel de Ville might be best suited to hang such a painting in - perhaps the room in which the present government, now blushing at its own origins, had been proclaimed? Another
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Around these central figures swirl rioters from all classes of society, drawn together in the struggle for liberty. However while the figures in
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critic, H.H.H., also denounced the painting as government propaganda and ridiculed the prominence it gave to boys of the street.
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The work was restored in 2015 through the sponsorship of the Carré Rive Gauche endowment fund.
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were commissioned to paint four large canvases for the Throne Room in the
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446:Études sur l'École française (1831-1852) Peinture et sculpture
418:"ATTAQUE DE L'HÔTEL DE VILLE DE PARIS, LE 28 JUILLET 1830"
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The
Victors of the Bastille in Front of the HĂ´tel de Ville
473:. Paris: Bureau de la Revue de Paris. 1834. p. 134
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Few critics were kind in their judgements of the work.
69:, the Paris crowds threw up barricades and seized the
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260:"Combat devant l'HĂ´tel de Ville le 28 juillet 1830"
61:Schnetz’s canvas illustrates the second day of the
286:"Combat pour l'HĂ´tel de Ville le 28 juillet 1830"
140:attack on the HĂ´tel de Ville, including works by
39:Combat devant l'HĂ´tel de Ville le 28 juillet 1830
34:Fight in front of the City Hall on 28 July 1830
26:Fight in Front of the City Hall on 28 July 1830
324:. New York: Taylor & Francis. p. 34.
233:Radio programme (in French) about the painting
127:to celebrate the heroes of the revolutions of
65:. In reaction to oppressive orders signed by
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449:. Paris: M. Lévy frères. pp. 29, 76–78
394:L'Ancien HĂ´tel de Ville de Paris, 1533-1871
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492:De Sazerac, Hilaire-LĂ©on (1834).
397:. Paris: A. Quantin. p. 150
45:, from 1833. Is it held in the
16:Painting by Jean-Victor Schnetz
266:. Paris Musées. 31 August 2016
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563:Paintings in the Petit Palais
527:. Paris. 1834. pp. 248–9
498:. Paris: Delaunay. p. 56
28:(1833) by Jean-Victor Schnetz
495:Lettres sur le Salon de 1834
154:La Prise de l’Hôtel de Ville
81:, expires as he raises the
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352:Montheuil, Albert (1895).
318:Brown, Marilyn R. (2017).
220:Liberty Leading the People
146:Le Combat du Pont d'Arcole
95:Liberty Leading the People
443:Planche, Gustave (1855).
355:L'illustration Volume 106
424:. L’Histoire par l’image
470:Revue de Paris Volume 3
391:Vachon, Marius (1882).
292:. Le Canard républicain
63:July Revolution of 1830
290:lecanardrepubicain.net
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578:Paintings about death
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358:. Paris. p. 515
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206:See also
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