Author(s):
wattier, émile charles (paris, 17–11–1800 - paris, 22–11–1868), designer-lithographer
engelmann, godefroy (mulhouse, 17–08–1788 - paris, 25–04–1839), engraver
other title: the conjugal ladder (title of the series)
production date: in 1824
dating in century: 19th century
type(s) of object(s): graphic arts, print
name(s): print
materials and techniques: lithography, vellum paper
dimensions - artwork:
height: 33. 8cm
width: 25. 3cm
dimensions - picture:
height: 27. 2cm
width: 19. 5cm
dimensions - mounting:
height: 50cm
width: 40cm
description:
colored lithograph on wove paper. Marks, inscriptions, hallmarks:
title of the work - above the image: "conjugal ladder"
caption - under the image: "der descending echelon / the separation"
inscription concerning the author - under the image on the left: "wattier delt" / under the image on the right: "lith. De g; engelmann" / under the caption on the right: "sazerac et duval editor passage de l'opéra staircase a". Iconographic description:
emile wattier suggests following the evolution of a couple, by establishing two series of eight illustrations – i. Illusions, ii. The realities - where each corresponds to a level, either ascending or descending, of a stage in the lives of the two lovers. Here, the artist presents the final stage of this married life: “the separation”. Leaving a courtyard with a private mansion in the background, the couple turn away from each other, heading in different directions. The inscription above the door "apartment for rent currently" emphasizes the breakup which causes the couple to abandon their home. The man, elegant with his top hat, his cape lined with fur and decorated with pompoms, goes to the left. His liveried footman follows him carrying his equipment: we can see a rifle on his back; against his green coat he also wears a checkered blanket, a violin and his archer as well as a stick on which his master's pairs of boots hang. He exchanges a look with the servant who follows his ex-wife to the right. Looking one last time at the footman, the young woman wears a cap and an apron, her shoulders hidden by a colorful fabric. Carrying two hat boxes and a cage containing a bird, she has a red-headed parakeet on her left shoulder. The look between the servant and the footman supposes, due to their youth, that they are then on the ascending rungs of the time of illusions. The wife, head bowed, turns away, her hair hidden by a large hat tied under her chin and decorated with ribbons. Against her purple cape which envelops her, she holds in her crossed arms a cat and a parasol. The names plastered above the characters are significant. Referring to the comic opera "les maris garçons" by h. Berton performed for the first time on july 14, 1806 at the feydeau theater, the term "husband boy" has a pejorative dimension, which refers to the single life to which the married man will indulge - as evidenced by the accessories referring to leisure activities held by the footman. "le diable à quatre" refers to several comic operas and to a popular expression which designates a character turbulent. Finally, “la jeune femme anger” refers to a comic opera by charles-guillaume etienne (1805). This theme, dear to balzac, is found in one of his first writings: the physiology of marriage. “that divorce, this admirable palliative for the evils of marriage, will be unanimously demanded? »
themes / subjects / places represented:
subject of society, morals, couple, cat, bird, violin, servant - servant
mode of acquisition: purchase
institution: maison de balzac
inventory number: bal98. 208. Date: En 1824.
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