204:) of its furnishings for use as barricading materiel. The painting uses muted colors to accentuate the bleakness of the French situation; the ground is a trodden, muddy brown covered with debris, and the sky is dull sunset yellow in reference to the imminent fall of Paris and the Second Empire. In the top center of the painting, shells can be seen exploding against the sky and birds can be seen in flight. A forest of barren trees can also be seen in the background; some are bare due to the battle's being fought in early December, while one tree has been snapped in two by a shell.
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The painting projects a scene in which French soldiers are fortifying a position in the village of
Villiers-sur-Marne in preparation for the Prussian counterattack that historically took place. Men are seen using pickaxes to bore through a wall to allow the French artillery to fire on the Prussians.
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As far as the French soldiers themselves are concerned, the men are depicted as being haggard but active; some soldiers are seen to be wounded, while many others carry their rifles slung over their shoulders in defiance of traditional military discipline. However, all are active; even the men seen
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and a cadre of officers can be seen in discussion with a gardener immediately to the left of the painting's center. A sense of unease emanates from the painting, as the men (and the viewer) wait for the inevitable
Prussian attack. Whether they are officers or enlisted men, the French soldiers are
141:. At Villiers, what the French intended to be a small reconnaissance sortie turned into a pitched battle with the Prussians; this fighting in turn caused thousands of casualties on both sides, the partial destruction of the villages of
470:– Collections of the Museum Adrien Mentienne, related to the major events that occurred in Bry-sur-Marne, including the Battle of Villiers in 1870 and other artworks of this battle (English version available)
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depicts a scene from the Battle of
Villiers (also referred to as the Battle of Champingny) during the Franco-Prussian War of 1870–1871. The battle was fought as part of a series of attempts by the
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portrayed in such a way as to be visually realistic while at the same time being portrayed in romanticized situations. This is in keeping with
Detaille's inclusion in the school of
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Detaille originally painted his scene of the battle as part of a wider project to produce a panoramic painting of the battle. His preliminary painting from 1879, titled
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Other soldiers are occupied with building barricades out of furniture, and in the background more soldiers are seen emptying a house (presumably a
156:, was a military and political disaster for France. In the post-war period, the idea that France should rise to meet the challenge posed by the
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Karine Varley, "The Taboos of Defeat: Unmentionable
Memories of the Franco-Prussian War in France, 1870–1914". in Jenny Macleod, ed.,
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idling in the painting's foreground are depicted as awaiting their officer's command. General Faron of the
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The world's painters since
Leonardo: being a history of painting from the renaissance to the present day
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in New York City. Detaille successfully completed a massive 52 Ă— 400 ft panorama (titled the
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Dearinger, David
Bernard; Stanley Ellis Cushing (2004). Virginia Wageman; Phil Freshman (eds.).
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Detaille, who came from a military family, served in the French army during the Siege of Paris.
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Robert Jay, "Alphonse de
Neuville's 'The Spy' and the Legacy of the Franco-Prussian War",
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Paintings and
Sculpture in the Collection of the National Academy of Design: 1826–1925
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121.9 cm Ă— 215.3 cm (48.0 in Ă— 84.8 in)
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Defeat and Memory: Cultural
Histories of Military Defeat in the Modern Era
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353:"Édouard Detaille, The End of a Tradition | Art History Unstuffed"
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gained traction in French society. This desire for vengeance –
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Under the Shadow of Defeat: The War of 1870–71 in French Memory
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The Franco-Prussian War, which caused the collapse of the
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443:. Manchester, Vermont: Hudson Hills. p. 154.
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381:"Édouard Detaille | The Defense of Champigny"
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