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1056:, 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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868:. 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.
916:, 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.
1016:, 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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837:; 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
806:. 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.
1009:"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.
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798:, 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
185:; 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".
841:, 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
108:, 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,
81:, 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
980:, 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.
141:, 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.
200:. 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.
775:, 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
499:; 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
62:. 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
972:, 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
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542:("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
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710:. 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.
771:, 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
861:, 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."
706:, 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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181:, 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
427:"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
88:, 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.
652:, 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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849:. 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
690:, 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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667:, 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
1005:, 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
1201:(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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435:, 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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74:
344:, or Port Louis-Philippe as the French still called it, then a small whaling-station, with a mostly French population. The
686:(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
1001:; 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
313:, which the French government was not yet ready to accept as wholly a British territory; there were also French
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1234:"MĂ©ryon" was common in 19th-century sources (but never for his father), but is now not usual, even in French
928:âwith the two passing women bent together in secret converseâthey at least suggest it. And sometimes, as in
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54:(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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932:, it is their expressive gesture and eager action that give vitality and animation to the scene.
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392:. In October they set off for Australia, via Kororareka near the tip of the North Island, today
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2012:, #s 700â702, 1971 (originally), The Metropolitan Museum of Art (fully available online as PDF)
751:, killing 27 in total). Meryon knew the setting well, and the work was exhibited in the annual
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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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277:(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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663:, 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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2170:, with a descriptive catalogue, of the artist's work (1879; 2nd ed., 1892); and
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carrying troops, the ship left Toulon to join the French Levant squadron in the
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515:(National Museum of Natural History) in Paris, before being transferred to the
408:, the lowest rank of naval officer, although the news did not reach him on the
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2057:. Vol. 18 (11th ed.). Cambridge University Press. pp. 176â177.
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924:, it is they who tell the story of the picture. Sometimes, as in the case of
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678:, when Meryon's immediate neighbourhood saw some intense fighting around the
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was to break out there. In November Meryon was, back in Paris, promoted to
99:, 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
759:), which was adapted as a book illustration. His drawing is now in the
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968:(1852) he could employ crisp lines through a well wiped plate without
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77:, a wealthy aristocrat and politician, and 1821 Charles Meryon by Dr
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47:), 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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1569:, 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
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615:, Banks' Peninsula"), New Zealand, drawn in 1845, etched 1865
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1896:"Charles Meryon (1821â67), Schizophrenic Painter-Engraver"
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from parts of the world where the West was just reaching.
2009:
Prints & People: A Social History of Printed Pictures
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285:. 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
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281:, then of great political interest to the French, and
133:, who had been a fellow boarder at 10 Warwick Street,
2015:
Van Breda, Jacobus, "Charles Meryon: Paper and Ink",
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Christie's, Sale 5992, "19th and 20th Century Prints"
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van Breda, Jacobus. "Charles Meryon: Paper and Ink,"
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682:
thrown up by the insurgents. He was a member of the
2089:
Catalogue Raisonne of the Etchings of Charles Meryon
880:
MĂ©ryon also taught; among his pupils was the etcher
877:
mysterious suggestiveness or for their pure beauty.
380:
be settled back in Europe. In May and June 1843 the
1169:(House with a Turret, Rue de la Tixeranderie), 1852
670:1848 saw rising political tensions in Paris, which
329:was returning home, when the replacement ship, the
1012:In 1858 he agreed to admit himself to the leading
853:, just before he was confined, he associated with
487:, who was then 30. He had thought of painting in
594:Large Native Hut on the Road from Balade to Puebo
2191:
1199:Tourelle, Rue de l'Ăcole de MĂ©decine, 22, Paris
478:
956:("The Admiralty"), the last Paris scene, 1865
558:, New Zealand, where MĂ©ryon spent three years
2135:Les Peintres graveurs du dix-neuviéme siÚcle
2099:Descriptive Catalogue of the Works of MĂ©ryon
2085:, 9780906030233 (now the standard catalogue)
451:set sail for home on the 16th. They passed
1042:
305:In the corvette "Le Rhin" he made a voyage
249:in February 1840, allowing Meryon to visit
144:His father, Dr Meryon, had been working at
1893:
517:Muséum d'Histoire naturelle de La Rochelle
288:
1784:
447:finally arrived on 8 March 1846, and the
1948:, 16 September 2009, Sale 5867, Lot 327
1794:, Vol. 3 No. 3 (SeptemberâOctober 2013).
1022:
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813:
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366:
292:
90:
31:
20:
2039:
2019:, vol. 3, no. 3, 2013, pp. 17â22.
1902:(in French). 39(S180) (S180): 159â165.
1758:
1746:
1256:
1027:Portrait of Charles Meryon, etching by
2192:
1080:
794:He entered the studio of the engraver
697:
269:. In April 1840 he transferred to the
111:
1776:. Librairie de l'Art. 1894. pp.
648:, like Fanny's father a Conservative
123:William Lowther, 2nd Earl of Lonsdale
75:William Lowther, 2nd Earl of Lonsdale
1946:Christie's, London, South Kensington
1137:("The Street of the Bad Boys"), 1854
513:Muséum national d'histoire naturelle
25:Portrait of Meryon, 1853 etching by
864:There are twenty-two pieces in the
641:taking these books very seriously.
340:The French base in New Zealand was
13:
2185:Charles MĂ©ryon exhibition catalogs
2062:
1908:10.1111/j.1600-0447.1964.tb04905.x
1150:Chevrier's Cold Bath Establishment
672:overthrew the monarchy in February
620:
574:fishing, drawn 1845, etched 1863.
233:Meryon joined his first ship, the
14:
2241:
2178:
987:
819:La Galerie de NĂŽtre-Dame in Paris
2215:19th-century French male artists
2027:
1773:L'art: revue mensuelle illustrée
1206:
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1167:Tourelle, Rue de la Tixeranderie
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323:established on an earlier voyage
1966:
1960:, London, 2 July 1998, Lot 27,
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1064:risen so swiftly and steadily.
761:National Library of New Zealand
596:, drawn in 1845, etched in 1863
152:, who he was later to visit in
2077:, 1990, Garton & Company,
1992:, 1999, Garton & Company,
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992:As early as his voyage on the
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415:At the end of August 1844 the
333:, was wrecked on the coast of
203:
1:
2210:19th-century French engravers
1982:
1586:Collins, 223â225; Mayor, #701
1103:("The Notre Dame Pump"), 1852
899:, 1854, fourth state of nine.
611:, ("Native Barns and Huts at
502:Throughout his voyage on the
966:La Pompe Notre Dame de Paris
455:in early May, and landed at
7:
2095:, Harold J. L. Wright, 1924
747:(by Maoris in 1772, at the
479:Art during his naval career
467:and spent four days at the
208:
10:
2246:
2073:Schneiderman, Richard J.,
1135:La Rue des Mauvais Garçons
1047:
930:L'Arche du Pont Notre Dame
926:La Rue des Mauvais Garçons
632:("The Small Bridge"), 1850
412:until July the next year.
2230:People with schizophrenia
2023:, Accessed 22 Nov. 2020.
1466:Collins, 49â52, 61, 72â74
1067:
954:Le Ministere de la Marine
791:if only for modest sums.
540:Le Ministere de la Marine
1221:
1043:Value of Meryon's prints
887:
743:Captain Marion du Fresne
732:Captain Marion du Fresne
400:between the British and
375:, made during his voyage
352:, but not landing until
2054:EncyclopĂŠdia Britannica
1894:Lundstroem, L. (1964).
1565:Connelly, Frances F.,
636:On his return from the
463:, they passed into the
289:Voyage around the world
2174:(1896; 2nd ed., 1905).
1990:Charles Meryon: A Life
1900:Acta Psychiatr. Scand.
1668:record for the etching
1032:
1003:Longwood, Saint Helena
957:
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822:
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688:French Second Republic
674:and culminated in the
633:
376:
302:
100:
70:, dying in an asylum.
48:
29:
2144:Lettres de Baudelaire
2122:Francis Seymour Haden
1975:on www.invaluable.com
1183:Saint-Etienne-du-Mont
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866:Eaux-fortes sur Paris
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443:The replacement ship
370:
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24:
905:Abside de Notre Dame
897:Abside de Notre Dame
882:Gabrielle-Marie Niel
821:(1853), 274 Ă 161 mm
804:Adriaen van de Velde
650:Member of Parliament
469:French North African
394:Russell, New Zealand
150:Lady Hester Stanhope
131:Charles Lewis Meryon
79:Charles Lewis Meryon
2116:Etching and Etchers
1973:Meryon auction lots
1761:, pp. 176â177.
1214:La Rue des Chantres
1120:The Exchange Bridge
1101:La Pompe Notre Dame
1081:Gallery of etchings
984:he helped inspire.
914:Gothic architecture
847:asylum at Charenton
708:academic curriculum
704:Jacques-Louis David
698:Professional artist
388:for ten days, then
190:French Naval School
146:St Thomas' Hospital
112:Birth and childhood
2220:Artists from Paris
2041:Wedmore, Frederick
1866:Collins, Chapter 9
1689:; Collins, 100â104
1430:Collins, 40, 50â52
1421:Collins, pp. 36â37
1385:Collins, pp. 28â30
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676:June Days uprising
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360:, and arriving at
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2160:Frederick Wedmore
1116:Le Pont-au-Change
1086:Etchings of Paris
1029:FĂ©lix Bracquemond
855:FĂ©lix Bracquemond
827:Frederick Wedmore
741:Assassination of
730:Assassination of
712:Assassination of
485:Vincent Courdouan
358:Cape of Good Hope
162:Church of England
127:the Prince Regent
27:FĂ©lix Bracquemond
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2126:Notes on Etching
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497:colour-blindness
461:Ascension Island
362:Hobart, Tasmania
297:Drawing made in
174:Camille Pissarro
60:colour blindness
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2063:Further reading
2045:MĂ©ryon, Charles
2028:
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2004:Mayor, A. Hyatt
2000:, 9780906030356
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910:J. M. W. Turner
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773:Etching Revival
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646:Henry Broadwood
623:
621:Return to Paris
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373:Head of a Maori
307:round the world
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139:Cockspur Street
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97:LĂ©opold Flameng
66:. He also had
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2179:External links
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2168:MĂ©ryon's Paris
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2154:Charles MĂ©ryon
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87:
82:
80:
76:
71:
69:
65:
61:
57:
53:
46:
42:
38:
34:
28:
23:
19:
16:French artist
2171:
2167:
2163:
2153:
2150:LoĂżs Delteil
2143:
2134:
2125:
2115:
2105:
2104:
2098:
2093:LoĂżs Delteil
2088:
2074:
2067:
2066:
2052:
2017:Art in Print
2016:
2008:
1989:
1968:
1961:
1953:
1941:
1932:
1899:
1889:
1884:Collins, 253
1880:
1875:Collins, 245
1871:
1862:
1857:Collins, 189
1853:
1848:Collins, 187
1844:
1835:
1830:Collins, 183
1826:
1817:
1812:Collins, 180
1808:
1803:Collins, 180
1799:
1792:Art in Print
1791:
1786:
1772:
1766:
1759:Wedmore 1911
1754:
1747:Wedmore 1911
1730:
1725:Collins, 108
1721:
1712:
1707:Collins, 106
1703:
1694:
1678:
1663:
1654:
1645:
1636:
1627:
1618:
1609:
1600:
1591:
1582:
1566:
1561:
1552:
1543:
1534:
1525:
1516:
1507:
1498:
1489:
1480:
1471:
1462:
1453:
1444:
1435:
1426:
1417:
1408:
1399:
1390:
1381:
1372:
1363:
1354:
1345:
1336:
1327:
1318:
1309:
1300:
1291:
1282:
1277:Collins, 5â9
1273:
1268:Collins, 1â6
1264:
1257:Wedmore 1911
1230:
1213:
1198:
1181:
1166:
1149:
1134:
1119:
1115:
1100:
1085:
1084:
1071:
1051:
1034:
1018:
1011:
1007:
999:Napoleon III
993:
991:
970:surface tone
965:
963:
959:
953:
939:
929:
925:
921:
918:
904:
902:
896:
879:
874:Napoleon III
870:
865:
863:
843:
834:
830:
824:
818:
796:EugÚne Bléry
793:
785:
780:
769:EugÚne Bléry
765:
740:
738:
729:
714:Captain Cook
711:
701:
692:
669:
653:
643:
637:
635:
629:
608:
593:
570:People from
539:
537:
528:
525:
503:
501:
482:
457:Saint Helena
448:
444:
442:
436:
416:
414:
409:
381:
378:
372:
345:
339:
330:
326:
319:South Island
304:
273:near modern
270:
234:
232:
222:
220:
216:
212:
187:
167:
159:
143:
115:
102:
83:
72:
58:, as he had
51:
50:
44:
41:The Gargoyle
40:
36:
18:
2205:1868 deaths
2200:1821 births
2172:Fine Prints
2112:PG Hamerton
1683:the drawing
1649:Collins, 99
1622:Collins, 94
1613:Collins, 87
1604:Collins, 95
1556:Collins, 67
1502:Collins, 67
1493:Collins, 67
1457:Collins, 50
1439:Collins, 40
1412:Collins, 35
1403:Collins, 34
1394:Collins, 32
1358:Collins, 22
810:Mature work
777:printmaking
753:Paris Salon
721:in 1779).
576:the drawing
533:cult images
523:) in 1926.
521:La Rochelle
489:watercolour
419:sailed for
311:New Zealand
204:In the Navy
118:Paris Opera
86:New Zealand
45:The Vampire
2194:Categories
2140:Baudelaire
2083:0906030234
2068:Catalogues
1998:0906030358
1983:References
1577:0271041838
1074:Christie's
1062:Rembrandts
851:middle age
680:barricades
554:Plaque in
421:Valparaiso
386:Wellington
271:Montebello
247:Aegean Sea
179:Marseilles
95:Meryon by
2043:(1911). "
1924:143487056
942:Pont Neuf
922:La Morgue
529:Le Stryge
453:Cape Horn
429:Marquesas
321:had been
301:, 1844â45
37:Le Stryge
2156:(1907)';
1916:14345190
1054:Whistler
978:Glaignes
974:Hallines
788:Normandy
471:port of
390:Auckland
384:visited
371:Drawing
350:Tenerife
283:Carthage
209:Training
198:Brittany
183:Florence
106:fine art
2146:(1907);
2051:(ed.).
2038::
1685:in the
1122:), 1854
1048:To 1911
839:Bourges
665:Belgium
315:whaling
267:Mycenae
255:Corinth
243:Algiers
154:Lebanon
56:etching
2164:MĂ©ryon
2118:(1868)
2081:
2047:". In
2032:
1996:
1922:
1914:
1573:
1216:, 1862
1186:, 1852
1152:, 1864
1068:Modern
1058:DĂŒrers
945:, 1853
831:MĂ©ryon
800:Zeeman
719:Hawaii
657:'s
613:Akaroa
556:Akaroa
433:Tahiti
406:ensign
342:Akaroa
299:Tahiti
251:Athens
239:Toulon
137:, off
2106:Books
2021:JSTOR
1936:Mayor
1920:S2CID
1222:Notes
888:Style
493:sepia
445:Seine
425:Chile
402:MÄori
354:Bahia
331:Seine
279:Tunis
275:Ä°zmir
263:Melos
259:Argos
235:Alger
223:Orion
194:Brest
170:Passy
64:Paris
2166:and
2079:ISBN
1994:ISBN
1912:PMID
1571:ISBN
994:Rhin
903:The
857:and
833:and
802:and
781:Rhin
717:(in
661:Nice
654:Rhin
638:Rhin
519:(in
504:Rhin
449:Rhin
437:Rhin
431:and
417:Rhin
410:Rhin
382:Rhin
346:Rhin
327:Rhin
265:and
1904:doi
1778:352
1060:or
940:Le
829:'s
423:in
237:at
196:in
192:in
43:or
2196::
2162:,
2152:,
2142:,
2133:,
2124:,
2114:,
2091:â
2006:,
1918:.
1910:.
1898:.
1780:â.
1739:^
1670:,
1239:^
1088::
1039:.
884:.
783:.
592:,
337:.
261:,
257:,
253:,
230:.
172:;
1926:.
1906::
1118:(
39:(
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