Author(s):
attributed to grandville (nancy, 15–09–1803 - vanves, 17–03–1847), designer
attributed to desperet or desperret, auguste (in 1865), designer-lithographer
junca, pierre théophile (bayonne, in 23–08–1810), printer
aubert (printer, lithographer, editor), editor
other title: the political, moral, literary and scenic caricature, volume 9, july 23, 1835, plate 512 (attributed title)
production date: in 1835
type(s) of object(s): manuscripts, printed matter, binding
name(s): periodical illustration
materials and techniques: lithography
dimensions - artwork:
height: 27cm
width: 35. 5cm
dimensions - image:
height: 17. 3cm
width: 26. 4cm
marks, inscriptions, hallmarks:
inscription - title bottom center: “the big fat ogre. »; caption lower center: “tayaud! bull! run, run, my diner [dinner] of dear [chair] fraiche [fresh] has taken the key to the fields, run, run, bring! »; indications: top to left: “la caricature (journal) n°246. ", ht to rt: "pl. 512. "
inscription - in the letter: “at the office at aubert, gal. Véro dodat” [editor], “lith. Junca, pass. Saulnier, n°6 » [printer]
iconographic description:
louis-philippe as a “big and fat ogre” stands, an ax in his hand, in front of the entrance to a tunnel whose heavy door is open. Around him a pack of dog bodyguards. To the left of the door, a man dressed as a peer of france rubs his hands next to a table on which bottles and glasses are placed. On the other side, persil in magistrate's garb stands and thiers runs up with a lamp in his hand. At the other end of the gallery, in the background of the image, a countryside landscape opens up. Men are fleeing into the distance. Those who are still close turn around to scowl at the royal ogre and his pack. The plate refers to the escape, july 12, 1835, of 27 republicans, imprisoned in sainte-pélagie during the trial of the april accused. Cavaignac had organized the escape from within the prison itself, leaving with 26 other “conjurers” (including armand marrast and joseph guinard) from this parisian prison deemed “impassable”, thanks to an underground tunnel dug under the prison and giving access to the garden of a terraced house. In this plate grandville brings the universe of the political charge closer to the imagination of the tale, as he had done previously in "barbe bleue, blanche, rouge" (la caricature", april 11, 1833, plate 265) and made the king an ogreesque and bloodthirsty character. Balzac had seen in his "introduction" (1843) to "on catherine de médicis" a historical constant in these passages from reality to the imagination, of history to tale: “how do people as famous as kings or queens, how do people as important as army generals become an object of horror or derision? between the song about marlborough and the history of england, half the world hesitates, as we hesitate between history and popular belief about charles ix. In all times when great battles take place between the masses and power, the people create an ogreesque character for themselves, if it is permissible to risk a word to make an idea just. Person / character depicted:
thiers, adolphe; louis-philippe i, king of the french; parsley, jean-charles
mode of acquisition: retrospective registration
date of acquisition: 20–02–2013
institution: maison de balzac. Date: En 1835.
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