Author(s):
forest, eugène (strasbourg, 24–10–1808 - grenoble, 28–12–1891), designer-lithographer
grandville (nancy, 15–09–1803 - vanves, 17–03–1847), designer
delaporte, victor hippolyte (29–01–1804), printer-lithographer
aubert (printer, lithographer, editor), editor
other title: the moral, religious, literary and scenic caricature (title of the whole)
production date: in 1832
type(s) of object(s): manuscripts, printed matter, binding
name(s): periodical illustration
materials and techniques: lithography
dimensions - artwork:
height: 27cm
width: 35. 6cm
dimensions - picture:
height: 19. 1cm
width: 23. 4cm
description:
ht plate published in the moral, religious, literary and scenic caricature, volume 3, february 9, 1832, (plate no. 135)
marks, inscriptions, hallmarks:
inscription - title at bottom center: “once again… madam, do you or do you not want to divorce, you are perfectly free. »; indications, top to center: “la caricature (journal) / (n°67. )”, top to right: “pl. 135. ”
inscription - in the letter: “lith. By delaporte. » [printer], “we subscribe to aubert, galerie véro dodat. » [editor]; in the image, bottom left, signature: “jj. Large / e. For. / h. Del. » [jean-jacques grandville, designer, eugène forest, lithographer, and “h. Del. » (?)]
inscription - on the paper held by louis-philippe: “loi du / divorce / 1831 / article”; on the papers placed on the table: “promise / with […]”, “allian[…] [alliance] / liber[…] [liberty]”, “hotel / de / ville” (allusion to the alleged program of the town hall to which the republican opposition frequently referred, but whose existence louis-philippe denied); on the newspapers strewn on the ground at the bottom right: “némésis”, “la caricature”, “la tribune”, “la révolution[…] [revolution] / de 1830” (opposition newspapers); on the frames hanging on the back wall: “valmy”, “jemmapes”; left on the wall, labels from a calendar with the dates of the three glorious years
iconographic description:
the table of contents provides clarification on the title: “the divorce of harpagon and liberty”. Domestic scene between louis-philippe and the figure of republican france, embodied by a woman wearing a phrygian cap with a tricolor cockade. The king brandished the divorce law of 1831 with his left hand and a mace with his head. All the elements present in this interior tend to make visible the gap between the loyalty to republican ideas recalled by the king (city hall clock, paving stone of the july revolution under glass, like a relic, his revolutionary commitment in the battles of jemmapes and valmy recalled in the paintings hung on the wall), and reality, that is to say, his distance from the revolutionary ideal (chained rooster, broken bust of la fayette, discarded opposition newspapers). On land), and treatment inflicted on the republic, his wife, from whom he wants to divorce. The pl. Thus highlights the king's desire to break with republican principles. In addition, pl. Constitutes an allusion to the law on the restoration of divorce which had just been passed by the chamber of deputies (january 1832) and rejected by the peers. On the same theme, cf. Article from number 47, p. 367-370. Person / character represented:
la fayette, gilbert du motier, marquis of; louis-philippe i, king of the french
mode of acquisition: retrospective registration
date of acquisition: 20–02–2013
institution: maison de balzac. Date: En 1832.
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