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Paul Gavarni - Gulliver Awed by Three Giant Beggars in the Land of Brobdingnag

Gulliver Awed by Three Giant Beggars in the Land of Brobdingnag (1862)

Paul Gavarni (French, 1804-1866)
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License: All public domain files can be freely used for personal and commercial projects.
Why is this image in the public domain?
The Artist died in 1866 so this work is in the public domain in its country of origin and other countries where the copyright term is the Artist's life plus 70 years or fewer.
Paul Gavarni

Paul Gavarni was the nom de plume of Sulpice Guillaume Chevalier, a French illustrator, born in Paris.

Gavarni's father, Sulpice Chevalier, was from a family line of coopers from Burgundy. Paul began work as a mechanical worker in a machine factory but he saw that to make any progress in his profession, he had to be able to draw; accordingly in his spare time in the evenings, he took classes in drawing. He devoted his special attention to architectural and mechanical drawing and worked at land surveying and mapping which led to his obtaining a position with the Government Ordnance Department as a draughtsman. It wasn't until his early thirties that he turned his attention to his proper vocation as an artist.

His first published drawings were for the magazine Journal des modes.

At the time, Gavarni was barely thirty years of age. His sharp and witty drawings gave these generally commonplace and unartistic figures a life-likeness and an expression which soon won him a name in fashionable circles. He gradually gave greater attention to this more congenial work, and ultimately stopped working as an engineer to become the director of the journal Les Gens du monde.

Gavarni followed his interests, and began a series of lithographed sketches in which he portrayed the most striking characteristics, foibles and vices of the various classes of French society. The letterpress explanations attached to his drawings were short, but were forcible and humorous, if sometimes trivial, and were adapted to the particular subjects. At first he confined himself to the study of Parisian manners, more especially those of the Parisian youth.

Most of his best work appeared in Le Charivari. He had been invited by the editor François Caboche to draw for the magazine. Gavarni had never drawn caricatures and was reluctant to accept the request but was persuaded to submit some drawings for approval. This he did and they were accepted but he didn't care for the captions which had been added by the magazine editors. Thereafter, he started writing his own. This was the beginning of the Boites aux lettres series.

Some of his most scathing and most earnest pictures, the fruit of a visit to London, appeared in L'Illustration. He also illustrated Honoré de Balzac's novels, and Eugène Sue's Wandering Jew.

More Artworks by Paul Gavarni (View all 395 Artworks)

Tu ne sais pas ta leçon. ce qu’on met dans les cheveux à ma tante pour qu’ils soient noirs après

Tu ne sais pas ta leçon. ce qu’on met dans les cheveux à ma tante pour qu’ils soient noirs après (1838-1840)

Paul Gavarni (French, 1804-1866)
Back of the medals, no. 3. A terrible child that we had the imprudence to let play with a pot of Lion Pomade

Back of the medals, no. 3. A terrible child that we had the imprudence to let play with a pot of Lion Pomade (1842)

Paul Gavarni (French, 1804-1866)
Maman va venir, pas tout de suite elle est avec Madame Pelet. moi j’en ai pas

Maman va venir, pas tout de suite elle est avec Madame Pelet. moi j’en ai pas (1838-1840)

Paul Gavarni (French, 1804-1866)
Oui ma chère, mon mari a eu l’infamie de faire venir cette créature dans ma maison. Les hommes sont laches

Oui ma chère, mon mari a eu l’infamie de faire venir cette créature dans ma maison. Les hommes sont laches (1840)

Paul Gavarni (French, 1804-1866)
Mère est-ce que c’est la crevè de ce matin que t’as dit que ça serait toujours assez bon pour lui

Mère est-ce que c’est la crevè de ce matin que t’as dit que ça serait toujours assez bon pour lui (1838-1840)

Paul Gavarni (French, 1804-1866)
Une mauvaise farce

Une mauvaise farce (1840)

Paul Gavarni (French, 1804-1866)
Les lettres de l’ancienne

Les lettres de l’ancienne (1839-1841)

Paul Gavarni (French, 1804-1866)
Mosieu Belassis, moi j’ai pas des jambes en manches de veste

Mosieu Belassis, moi j’ai pas des jambes en manches de veste (1838-1840)

Paul Gavarni (French, 1804-1866)
Me souffler un amant, toi A moi Ô que tu es bien heureuse que ça n’est qu’Anatole

Me souffler un amant, toi A moi Ô que tu es bien heureuse que ça n’est qu’Anatole

Paul Gavarni (French, 1804-1866)
Tais-toi, moutard, faut laisser jaser l’autorité

Tais-toi, moutard, faut laisser jaser l’autorité (1840)

Paul Gavarni (French, 1804-1866)
Travel to China; Get married, then . . . In China

Travel to China; Get married, then . . . In China (1844)

Paul Gavarni (French, 1804-1866)
Qu’est-ce que c’est que cette infamie de petite bête là

Qu’est-ce que c’est que cette infamie de petite bête là (1839-1841)

Paul Gavarni (French, 1804-1866)
C’est une femme que j’ai bien aimé

C’est une femme que j’ai bien aimé (1840-1841)

Paul Gavarni (French, 1804-1866)
Mais au moins, moi Je ne suis pas numérotée. comme un fiacre

Mais au moins, moi Je ne suis pas numérotée. comme un fiacre

Paul Gavarni (French, 1804-1866)
Adieu, Madame, à bientôt. Maman a dit qu’il était bête et ennuyeux. voila

Adieu, Madame, à bientôt. Maman a dit qu’il était bête et ennuyeux. voila (1838-1840)

Paul Gavarni (French, 1804-1866)
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