Michel Garnier

Courtesan and peasant girl under the arcades of the Palais Royal , 1787 ( Los Angeles County Museum of Art ).

Grapefruit , ca.1803 (art trade).

Michel Garnier (born January 21, 1753 in Saint-Cloud , † 1829 in Versailles ) was a French painter and scientific illustrator. His work includes genre scenes , portraits and depictions of tropical crops. The latter were created during a nine-year stay in Mauritius .

life and work

In the service of the Orléans

As the eldest son of Michel Garnier, who tended the parquet at Saint-Cloud Castle , and Hubert, born by his wife Elisabeth, the later painter literally grew up with pictures. His godfather was the valet of the lord of the castle, the Duke of Orléans . Later, the father served his son, the Duke of Chartres , and Garnier himself was initially in the service of the House of Orléans , this oppositional branch of the French royal family that owned the Palais Royal in Paris .

The artist probably received his training at an advanced age. According to the catalogs of the salons of 1796 and 1799, he was a student of the director of the Royal Academy of Painting and Sculpture , Jean-Baptiste-Marie Pierre (1714–1789), according to other information from Louis-Jean-Jacques Durameau (1733–1796) and possibly by Charles Lepeintre (1735–1803). Greuze , David , Marguerite Gérard and Boilly are likely to have influenced him . From 1779–1781 he was a member of the Masonic Lodge Saint-Louis . His earliest known work dates from 1781 when he was already 28 years old. It is a portrait of the Duke of Chartres (from 1785 Duke of Orléans) showing him as the Grand Master of the Grand Orient de France . In 1784 Garnier signed as “Painter of His Highness Highness the Duke of Chartres”. In 1785/86 he painted female portraits in gouache , but then specialized in genre scenes of small and medium formats.

The 1787 rear view of a gorgeous red-haired courtesan strutting through the arcades of the Palais Royal comes from the collection of the Dukes of Orléans . At her feet sits a peasant girl who is selling a rose branch - a symbol of her virginity. The work shows the blatant inequality under the Ancien Régime , the lure of luxury and its moral dubiousness. On the left column above Garnier's signature, edicts of the First Prince of the Blood can be seen. In 2014, Christie’s paid 360,000 euros to portray a young harpist from 1788 .

Paintings like tableaux vivants

Saint-Marc's farewell, 1788 ( Christie's ).

Saint-Marc's Farewell, 1789 ( Musée Carnavalet , Paris).

The playwright and librettist Jean-Paul-André Razins, marquis de Saint-Marc (1728-1818), who commissioned a painting from Garnier in 1788, belonged to the Lodge Saint-Jean du Contrat-Social . The picture shows him saying goodbye to the family during the War of the Austrian Succession as a 16-year-old officer of the Dragons de la Maison du Roi . to be recognized for his bravery in the Battle of Fontenoy . An educator comforts the younger fiancée Saint-Marc, who hands him a white sash and a white helmet feather. While the young man looks sadly at his beloved, his mother admonishes him to be brave by pointing to the portraits of his ancestors. And unlike in Saint-Marc's epistle on knighthood, which the catalog of his painting collection mentions in connection with the picture, it is not the beloved who armed the young man, but the mother. Like the artist's genre scenes, the whole thing resembles an artistically illuminated tableau vivant, which is represented by perfectly (in the style of the 1780s) dressed and coiffed people. A variant of the painting from 1789 shows the mother in a standing position and the teacher in a sitting position.

After the revolution, Garnier portrayed the future wife of Napoleon and Empress of the French Joséphine de Beauharnais in blue-white-red clothes, as they were worn on the first anniversary of the Bastille storm.

A counterpart to Fragonard

Gentle Resistance, 1793 (formerly Didier Aaron Collection).

Garnier's genre pictures are gallant to subtly erotic , lively and soulful to the point of theatricality, sometimes moralizing but never satirical, and are characterized by a meticulous rendering of costume and decor.

A studio scene from the 1790s shows a painter from behind. We do not know whether it is a self-portrait or whether the visitors and replicas of ancient statues depicted belonged to Garnier's real environment.

The gentle resistance (La douce résistance) from 1793 is of high quality. The facial expressions of the people, the erotic characters on the mantelpiece and the barometer on the wall that stands on “changeable” indicate that the depicted argument is going on despite the signs of battle and reaching for the bell (which an imaginative interpreter mistook for a violin bow) is played among lovers. It is interesting to compare Fragonard bars (Le verrou) from the 1770s: In the rococo painter who is moral locked out, pointed at Garnier passion in their place. While there are discarded flowers on the floor, here - also on the right edge of the picture - a vase with roses takes pride of place in front of the mirror.

Charge of frivolity

Young woman at the toilet, 1796 (art trade).

Like other artists who had not belonged to the Academy, Garnier was now able to take part in the Salon in the Louvre , where he was represented with a total of eleven genre paintings from 1793–1799. He exhibited three other works of this genre in 1797 in the Élysée Palace . In 1793, a critic found the colors of one of his exhibits ( The Good Mother ) seductive, but not natural, the hands of a girl uneven and the figures short, with the other ( Waiting for the Beloved ) the head and posture of the main female character appropriate to the subject, colors and robes, however, not very tasteful. Another author in 1795 praised the portrayal of a woman handing a discreetly delivered letter to her servant without reservation. He was no less pleased with a picture in which a man from the people carries a lady through a sewer. But then the apparent superficiality of Garnier's works was met with rejection: in 1796 the Décade philosophique, littéraire et politique described a breakfast with fresh eggs as “naughtiness (polissonnerie) à la française”, as it had been fashionable fifteen or twenty years ago. The Mercure français added that the subject was too revealing and too poorly executed. In 1798 the same magazine wrote that Garnier's pictures were reminiscent of the frivolous comedies of Beaumarchais and gave the impression that French society was made up of husbands betrayed, fallen girls and blind mothers.

A painting from 1796 showing a young woman at the toilet raises questions: Does the beautiful woman put on or take off the stocking? Why did she wash her intimate area (with the dishes on the floor)? Is the onlooker her husband or a lover? Does she turn her head away from him to look at (the blowing of the curtain) or to be looked at? Is there even a third person hiding behind the curtain, which has come dangerously close to the vase with the rose branch?

A decade in Mauritius

Gust of wind on the Pont Royal, ca.1799 ( Dallas Museum of Art ).

Garnier seems to have taken the reproach of frivolity seriously: in the depiction of a gust of wind on the Pont Royal (then Pont National), which he exhibited in the Salon of 1799, nature is the only intriguer . In addition, the picture is characterized by a new dynamic and a simpler painting style. A shoeshine boy lying on the floor in front of members of the Jeunesse dorée , like the peasant girl with the courtesan of 1787, functions as a contrasting figure.

Finally, the artist completely broke with his past by in 1800 to the Corvette (The naturalist) Le Naturaliste to Nicolas Baudin's expedition to Australia participated. But only until the Île de France (today's Mauritius ) was reached in 1801 . Garnier and two naturalists were accused by Baudin of having "frivolous amusements" on the pretext of illness after arriving on the island. According to the travel report of one of the two co-accused, this did not correspond to the facts. Many other crew members did not feel up to the strains of the onward journey and stayed in Mauritius. Garnier gave drawing lessons there and portrayed colonists who, using slaves, produced the luxury good of that time, sugar. Possibly related portraits of a man and a woman have recently appeared in the art market. In the painting The Hammock , shown in Stockholm in 1958 , two white women in a drawing room are rocked by a black man.

Garnier helped found a society to explore the island. Was he the one of the three artists who had dropped out and who bought house, land and slaves at once? In any case, he turned down an offer to return to France in 1804. Perhaps inspired by the Pamplemousses botanical garden , which was already one of the sights of Mauritius at that time, he created surprisingly modern-looking representations of tropical crops. He could have worked with Louis-Marc-Antoine Robillard d'Argentelle (1777–1828), who made corresponding wax models from 1803 onwards. For five years, Garnier asked blacks to tell him where certain fruits ripened so that he could paint them at the right time.

An unsaleable treasure

Fruit umbel of the great date palm (Muséum d'histoire naturelle).

When England's Mauritius campaign was imminent, Garnier decided to return to France. But the Flûte La Confiance (The Confidence) , on which he embarked at the end of 1809, was raised by the Royal Navy shortly before reaching the destination . The artist is said to have lost almost 200,000 francs , two thirds of which in the form of colonial goods and five boxes with objects from natural history. He was only allowed to keep one suitcase in which he packed his plant pictures. Sick and no longer able to paint, he offered this to Napoleon's Minister of the Interior in 1812 . The experts at the Muséum d'histoire naturelle endorsed the purchase, but the 30,000 francs demanded could not be found at the time of the Russian campaign .

Garnier exhibited some of the pictures in the Salon of 1814. The following year he published a Catalog d'une collection de plus de deux cents fruits de l'Asie, de l'Afrique et de l'Amérique, acclimatisés aux îles de France et de Bourbon (catalog of a collection of over two hundred in Mauritius and La Réunion acclimatized fruits of Asia, Africa and America), which he sent to lovers of natural history. From this it appears that the full-size fruits were painted in place, in groups, with their leaves as they looked on the tree. One of each was cut open to show inside. There were 140 oil paintings of around 50 x 40 cm and 47 drawings. In 1819 Garnier offered the collection to the state again - at half price, but unsuccessfully.

It was not until 1851 that the Muséum d'histoire naturelle secured 90 and in 1876 another 37 of the partly unfinished works, several of them in slightly damaged condition. They only cost three francs a piece. Among them were some that are characterized by great delicacy of colors and beautiful lighting effects. The branch of a coffee bush, for example, is reminiscent of Caravaggio's fruit basket ( Pinacoteca Ambrosiana ). The fruity umbel of the large date palm anticipates the aesthetics of color photography in its detail. The privately owned grapefruit fetched 170,000 euros at Christie's in 2015.

Private life

All we know of Garnier's first wife, Louise-Gabrielle Milon, is that he lost her in her death. This could be related to the fact that, according to his friend Coupin de La Couperie, he took part in the Baudin expedition “to distract himself from bitter worries”. After returning from Mauritius, he became the father of two illegitimate children in Paris, Louise-Flore (* 1813) and Michel-Eugène (* 1814). Legitimized them as the now 68-year-old " reindeer " married in 1821 whose 26 years younger mother Louise Petit divorced Belhomme. This in Versailles , where he had lived for five years. One of the witnesses was the 24-year-old law student Achille Garnier - a son from his first marriage who was left behind in France?

gallery

Genre scenes until 1789

Harmony, 1786 ( Sotheby’s ).
Young musician, 1788 (Christie's).
Young painter with a wreath of flowers, 1789 (private collection).
Dispute over marriage contract, 1789 (Musée Carnavalet, Paris).

Genre scenes after 1789

Studio scene, approx. 1792–1795 (Musée d'art moderne, Saint-Étienne ).
Waiting for the Beloved, 1793 (Christie's).
Belated lover, 1794 ( Musée des Beaux-Arts , Dijon).
Crossing a ford , around 1795 (art trade).

Genre scenes from the turn of the century

Whisper, around 1798 (art trade).
Woman with a Miniature Portrait , ca.1799 (Sotheby's).
The hammock (private collection).
Farewell to the Islands (attributed to Garnier).

Portraits

Presumed portrait of the singer Dugazon , 1786 (art trade).
Joséphine de Beauharnais , 1790 ( University of Notre Dame , Indiana ).
Woman with a Green Headscarf, 1806 (art trade).
Portrait of a Man, 1805 (attributed to Garnier).

Tropical crops

Coffee bush ( Muséum d'histoire naturelle ).
Nutmeg tree (Muséum d'histoire naturelle).
Clove tree (Muséum d'histoire naturelle).

literature

A biography of the artist, long forgotten or degraded to a “painter of family life”, is missing, as is a catalog of his works.

Web links

Commons : Michel Garnier - Collection of images, videos and audio files

References and comments

↑ Baptismal certificate from Ernest-Théodore Hamy : Les peintures de Michel Garnier au Muséum d'histoire naturelle , Jg. 1898, No. 8, pp. 336–344, here: p. 338 ( digitized version ). A decision by Saint-Cloud to name a street after Garnier appears to have not been carried out. Cf. Louis Denise: Bibliographie historique et iconographique du Jardin des plantes (...), H. Daragon, Paris 1903, p. 257 ( digitized version ).

^ Garnier, Michel on: Database of Scientific Illustrators 1450–1950, University of Stuttgart ( digitized version ). It used to be wrongly stated that he died in Paris in 1819, the civil status register of which burned during the Commune uprising in 1871 .

↑ In the Franco-German War in 1870 destroyed.

↑ Baptismal certificate from Ernest-Théodore Hamy: Les peintures de Michel Garnier au Muséum d'histoire naturelle, year 1898, No. 8, pp. 336–344, here: p. 338 ( digitized version ); Marriage certificate: Généalogie de la famille Parneix, source 1943S ( digitized ).

↑ Jules Guiffrey (ed.): Collection des livrets des anciennes expositions depuis 1673 jusqu'en 1800, Liepmannssohn, Paris 1871, Exposition de 1796, p. 35 ( digitized version ), Exposition de 1799, p. 32 ( digitized version ); see. Ernest-Théodore Hamy: Les peintures de Michel Garnier au Muséum d'histoire naturelle, Jg. 1898, No. 8, pp. 336–344, here: p. 338 ( digitized version ).

^ Garnier, Michel on: Database of Scientific Illustrators 1450–1950, University of Stuttgart ( digitized version ).

↑ See art trade advertisement ( digitized version ).

↑ Elvire de Maintenant: Michel Garnier, peintre de genre sous la Révolution, in: L'Estampille / L'Objet d'Art (Dijon), No. 370, June 2002, pp. 76–82, here: p. 76, 78 f.

↑ In the 19th century the picture was called The Flower Seller . Cf. Objets d'art (…) provenant de la collection de feu Mme A… de Rouen (…), Escribe, Bloch, Paris 1879, p. 26 ( digitized version ).

^ Auction report Christie's Paris, April 1, 2014 ( digitized version ).

↑ Œuvres complètes de Saint-Marc, Nouvelle édition, Volume 1, Didot jeune, Paris 1788 ( digitized version ), pp. 9–19, here: p. 10.

↑ Collection de feu le marquis de Saint-Marc, Tableaux anciens de l'école française (sales catalog), Paris 1859, lot 7 ( digitized version ).

↑ Elvire de Maintenant: Michel Garnier, peintre de genre sous la Révolution, in: L'Estampille / L'Objet d'Art (Dijon), No. 370, June 2002, pp. 76–82, here: p. 76, 78 f.

↑ Elvire de Maintenant: Michel Garnier, peintre de genre sous la Révolution, in: L'Estampille / L'Objet d'Art (Dijon), No. 370, June 2002, pp. 76-82, here: p. 81.

↑ Apollo von Belvedere , Diskobolus and Borghesischer Fechter .

↑ Cf. Léon Munière: Michel Garnier (1753 - 1819), La douce résistance, in: L'Estampille (Dijon), No. 142, February 1982, p. 59 f.

^ H. Porter Abbott: The Cambridge Introduction to Narrative, Cambridge University Press , 2002, p. 8 ( digitized version ).

↑ In Germany the time of storm and urge .

↑ Cf. Jules Guiffrey (Ed.): Collection des livrets des anciennes expositions depuis 1673 jusqu'en 1800. Liepmannssohn, Paris 1871, Exposition de 1793, pp. 10 f., 82 ( digitized version ); Exposition de 1795, p. 32 ( digitized version ); Exposition de 1796, p. 35 ( digitized version ); Exposition de 1798, p. 32 ( digitized version ); Exposition de 1799, p. 32 ( digitized version ); Exposition publique des ouvrages des artistes vivans, dans le Salon du Louvre, au mois de septembre, année 1795, vieux stile, ou vendémiaire de l'an quatrième de la République, par Mr. Rob… (manuscript), p. 447 f. ( Digitized version ).

↑ Livret de l'exposition du Colisée (1776) suivi de l'analyse de l'exposition ouverte à l'Élisée en 1797 (...), J. Baur, Paris 1875, p. 53 ( digitized version ).

↑ Explication (…) et jugement motivé des ouvrages (…) exposés au Palais National des Arts ( published anonymously ), H. J. Jansen & Cie., Paris (1793), pp. 8 f., 12 ( digitized version ).

↑ Exposition publique des ouvrages des artistes vivans, dans le Salon du Louvre, au mois de septembre, année 1795, vieux stile, ou vendémiaire de l'an quatrième de la République, par Mr. Rob… (manuscript), p. 446– 448 ( digitized version ). In a variant of the last-mentioned painting, the secularized Christophorus crosses a ford with the woman on his back .

↑ (Amaury Duval :) Suite des observations de Polyscope sur le Salon de peinture, in: La Décade philosophique, littéraire et politique, 20. Brumaire year 5 (November 10, 1796), pp. 274–283, here: p. 281 ( Digitized version ).

↑ Fin du Salon de l'an V (1796), in: Mercure français, 30. Frimaire year 5 (December 20, 1796), pp. 155–163, here: p. 160 ( digitized version ).

↑ One of the exhibited pictures showed a jump out of the window, as performed by Chérubin in Le mariage de Figaro .

↑ Sur l'exposition des tableaux et sculptures de l'an VI (1st part), in: Mercure français , 20th Vendémiaire year 7 (October 11, 1798), p. 91–100, here: p. 99 f. ( Digitized version ).

↑ Garnier not only lets the woman lift her skirts, but also uses the discarded fichu on the back of the armchair to indicate that her décolleté is not covered.

↑ Elvire de Maintenant: Michel Garnier, peintre de genre sous la Révolution, in: L'Estampille / L'Objet d'Art (Dijon), No. 370, June 2002, pp. 76-82, here: p. 81.

↑ Jacqueline Bonnemains et al. (Ed.): Mon voyage aux Terres Australes. Journal personnel du commandant Baudin. Imprimerie Nationale, Paris 2000, ISBN 2-7433-0384-0 , pp. 174 f., 179.

↑ Jean-Baptiste-Geneviève-Marcellin Bory de Saint-Vincent : Voyage dans les quatre principales îles des mers d'Afrique (...), 1st volume, F. Buisson, Paris year 8 (1804), p. 190 f. ( Digitized version ).

^ François Péron et al. : Voyage de découvertes aux terres australes (…) Navigation et geographie, Imprimerie Royale, Paris 1815, pp. X – XVI ( digitized version ); Jacqueline Bonnemains et al. (Ed.): Mon voyage aux Terres Australes. Journal personnel du commandant Baudin. Imprimerie Nationale, Paris 2000, ISBN 2-7433-0384-0 , p. 178 f.

↑ Ernest-Théodore Hamy: Les peintures de Michel Garnier au Muséum d'histoire naturelle, in: Bulletin du Muséum d'histoire naturelle, Volume 5, Imprimerie nationale, Paris 1899, No. 1898/8, pp. 336–344, here: p. 342 ( digitized version ).

^ Société des sciences et des arts de l'Isle de France. Cf. Madeleine Ly-Tio-Fane: Le Géographe et le Naturaliste à l ' Île-de-France (...), Port-Louis 2003, ISBN 99903-31-12-X , pp. 103, 105.

^ Magasin encyclopédique ou Journal des sciences, des lettres et des arts, 7th year, 6th volume, Paris year 12/1801, p. 77 ( digitized version ).

↑ Madeleine Ly-Tio-Fane: Le Géographe et le Naturaliste à l ' Île-de-France (...), Port-Louis 2003, ISBN 99903-31-12-X , p. 137.

^ Cf. François Péron et al .: Voyage de découvertes aux terres australes (…) Historique, Volume 1, Imprimerie Impériale, Paris 1807, pp. 57–61 ( digitized version ).

↑ Elvire de Maintenant: Michel Garnier, peintre de genre sous la Révolution, in: L'Estampille / L'Objet d'Art (Dijon), No. 370, June 2002, pp. 76-82, here: p. 82.

↑ Ernest-Théodore Hamy: Les peintures de Michel Garnier au Muséum d'histoire naturelle, in: Bulletin du Muséum d'histoire naturelle, Volume 5, Imprimerie nationale, Paris 1899, No. 1898/8, pp. 336–344, here: p. 337 / note. 1, 342 ( digitized version ).

↑ The former frigate La canonnière.

↑ Ernest-Théodore Hamy: Les peintures de Michel Garnier au Muséum d'histoire naturelle, Jg. 1898, No. 8, pp. 336–344, p. 339 / note. 3, 342 f. ( Digitized version ).

↑ Charles-Paul Landon: Salon de 1814, Recueil de morceaux choisis parmi les ouvrages (…), Annales du Musée, Paris 1814, p. 106 ( digitized ), described the pictures as perfect, interesting reproductions. See Explication des ouvrages (...) exposés au Musée Royal des Arts (...), Dubray, Paris 1814, p. 43 ( digitized version ).

↑ Ernest-Théodore Hamy: Les peintures de Michel Garnier au Muséum d'histoire naturelle, Jg. 1898, No. 8, pp. 336–344, here: pp. 337, 343 f. ( Digitized version ). The catalog is mentioned in the Journal de physique, de chimie et d'histoire naturelle, Paris March 1816, p. 259 ( digitized version ). The copy used by Hamy should still be in the possession of the Musée de l'histoire naturelle.

↑ Ernest-Théodore Hamy: Les peintures de Michel Garnier au Muséum d'histoire naturelle, vol. 1898, No. 8, pp. 336–344, here: pp. 336–338 ( digitized version ); Gérard Aymonin: Les tableaux de végétaux tropicaux de Michel Garnier (1753 - 1819), in: Mahé de la Bourdonnais , La Compagnie des Indes dans l'Océan India ( Cahiers de la Compagnie des Indes, No. 4), Port-Louis 1999 , ISBN 2-9504920-6-1 , pp. 103-108. The works mentioned are kept in the Laboratoire de phanérogamie together with those of Robillard d'Argentelle .

↑ Ernest-Théodore Hamy: Les peintures de Michel Garnier au Muséum d'histoire naturelle, Jg. 1898, No. 8, pp. 336-344, here: p. 344 ( digitized version ).

^ Auction report Christie's Paris, November 12, 2015 ( digitized version ).

^ Garnier, Michel on: Database of Scientific Illustrators 1450–1950, University of Stuttgart ( digitized version ).

↑ Marie-Philippe Coupin de La Couperie (1771 / 73-1851) seems to have worked for Garnier at times. Cf. Garnier, Michel on: Database of Scientific Illustrators 1450–1950, University of Stuttgart ( digitized version ).

↑ Ernest-Théodore Hamy: Les peintures de Michel Garnier au Muséum d'histoire naturelle, in: Bulletin du Muséum d'histoire naturelle, Volume 5, Imprimerie nationale, Paris 1899, No. 1898/8, pp. 336–344, here: p. 339 / note. 2 ( digitized version ).

^ Marriage certificate: Généalogie de la famille Parneix, source 1943S ( digitized ).

^ Jean-François Heim, Claire Béraud, Philippe Heim: Les Salons de peinture de la Révolution française, 1789-1799, CAC Sarl. Édition, Paris 1989, ISBN 2-906486-01-9 , p. 212.

personal data
SURNAME	Garnier, Michel
BRIEF DESCRIPTION	French painter
DATE OF BIRTH	January 21, 1753
PLACE OF BIRTH	Saint-Cloud
DATE OF DEATH	1829
Place of death	Versailles

[1] Baptismal certificate from Ernest-Théodore Hamy : Les peintures de Michel Garnier au Muséum d'histoire naturelle , Jg. 1898, No. 8, pp. 336–344, here: p. 338 ( digitized version ). A decision by Saint-Cloud to name a street after Garnier appears to have not been carried out. Cf. Louis Denise: Bibliographie historique et iconographique du Jardin des plantes (...), H. Daragon, Paris 1903, p. 257 ( digitized version ).

[2] Garnier, Michel on: Database of Scientific Illustrators 1450–1950, University of Stuttgart ( digitized version ). It used to be wrongly stated that he died in Paris in 1819, the civil status register of which burned during the Commune uprising in 1871 .

[3] In the Franco-German War in 1870 destroyed.

[4] Baptismal certificate from Ernest-Théodore Hamy: Les peintures de Michel Garnier au Muséum d'histoire naturelle, year 1898, No. 8, pp. 336–344, here: p. 338 ( digitized version ); Marriage certificate: Généalogie de la famille Parneix, source 1943S ( digitized ).

[5] Jules Guiffrey (ed.): Collection des livrets des anciennes expositions depuis 1673 jusqu'en 1800, Liepmannssohn, Paris 1871, Exposition de 1796, p. 35 ( digitized version ), Exposition de 1799, p. 32 ( digitized version ); see. Ernest-Théodore Hamy: Les peintures de Michel Garnier au Muséum d'histoire naturelle, Jg. 1898, No. 8, pp. 336–344, here: p. 338 ( digitized version ).

[6] Garnier, Michel on: Database of Scientific Illustrators 1450–1950, University of Stuttgart ( digitized version ).

[7] See art trade advertisement ( digitized version ).

[8] Elvire de Maintenant: Michel Garnier, peintre de genre sous la Révolution, in: L'Estampille / L'Objet d'Art (Dijon), No. 370, June 2002, pp. 76–82, here: p. 76, 78 f.

[9] In the 19th century the picture was called The Flower Seller . Cf. Objets d'art (…) provenant de la collection de feu Mme A… de Rouen (…), Escribe, Bloch, Paris 1879, p. 26 ( digitized version ).

[10] Auction report Christie's Paris, April 1, 2014 ( digitized version ).

[11] Œuvres complètes de Saint-Marc, Nouvelle édition, Volume 1, Didot jeune, Paris 1788 ( digitized version ), pp. 9–19, here: p. 10.

[12] Collection de feu le marquis de Saint-Marc, Tableaux anciens de l'école française (sales catalog), Paris 1859, lot 7 ( digitized version ).

[13] Elvire de Maintenant: Michel Garnier, peintre de genre sous la Révolution, in: L'Estampille / L'Objet d'Art (Dijon), No. 370, June 2002, pp. 76–82, here: p. 76, 78 f.

[14] Elvire de Maintenant: Michel Garnier, peintre de genre sous la Révolution, in: L'Estampille / L'Objet d'Art (Dijon), No. 370, June 2002, pp. 76-82, here: p. 81.

[15] Apollo von Belvedere , Diskobolus and Borghesischer Fechter .

[16] Cf. Léon Munière: Michel Garnier (1753 - 1819), La douce résistance, in: L'Estampille (Dijon), No. 142, February 1982, p. 59 f.

[17] H. Porter Abbott: The Cambridge Introduction to Narrative, Cambridge University Press , 2002, p. 8 ( digitized version ).

[18] In Germany the time of storm and urge .

[19] Cf. Jules Guiffrey (Ed.): Collection des livrets des anciennes expositions depuis 1673 jusqu'en 1800. Liepmannssohn, Paris 1871, Exposition de 1793, pp. 10 f., 82 ( digitized version ); Exposition de 1795, p. 32 ( digitized version ); Exposition de 1796, p. 35 ( digitized version ); Exposition de 1798, p. 32 ( digitized version ); Exposition de 1799, p. 32 ( digitized version ); Exposition publique des ouvrages des artistes vivans, dans le Salon du Louvre, au mois de septembre, année 1795, vieux stile, ou vendémiaire de l'an quatrième de la République, par Mr. Rob… (manuscript), p. 447 f. ( Digitized version ).

[20] Livret de l'exposition du Colisée (1776) suivi de l'analyse de l'exposition ouverte à l'Élisée en 1797 (...), J. Baur, Paris 1875, p. 53 ( digitized version ).

[21] Explication (…) et jugement motivé des ouvrages (…) exposés au Palais National des Arts ( published anonymously ), H. J. Jansen & Cie., Paris (1793), pp. 8 f., 12 ( digitized version ).

[22] Exposition publique des ouvrages des artistes vivans, dans le Salon du Louvre, au mois de septembre, année 1795, vieux stile, ou vendémiaire de l'an quatrième de la République, par Mr. Rob… (manuscript), p. 446– 448 ( digitized version ). In a variant of the last-mentioned painting, the secularized Christophorus crosses a ford with the woman on his back .

[23] (Amaury Duval :) Suite des observations de Polyscope sur le Salon de peinture, in: La Décade philosophique, littéraire et politique, 20. Brumaire year 5 (November 10, 1796), pp. 274–283, here: p. 281 ( Digitized version ).

[24] Fin du Salon de l'an V (1796), in: Mercure français, 30. Frimaire year 5 (December 20, 1796), pp. 155–163, here: p. 160 ( digitized version ).

[25] One of the exhibited pictures showed a jump out of the window, as performed by Chérubin in Le mariage de Figaro .

[26] Sur l'exposition des tableaux et sculptures de l'an VI (1st part), in: Mercure français , 20th Vendémiaire year 7 (October 11, 1798), p. 91–100, here: p. 99 f. ( Digitized version ).