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Paul Gavarni - Oreste et Pylade seraient volontiers morts l’un pour l’autre, mais ils seraient brouillés s’ils n’avaient eu qu’une cu

Oreste et Pylade seraient volontiers morts l’un pour l’autre, mais ils seraient brouillés s’ils n’avaient eu qu’une cu (1839-1841)

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)

Le mien est blond, je n’aime pas les blonds t’aimes pas les bruns changeons

Le mien est blond, je n’aime pas les blonds t’aimes pas les bruns changeons

Paul Gavarni (French, 1804-1866)
Petit Chérubin, j’ai apporté du bonbon pour vous. donne le moi tout de suite et puis va-t-en

Petit Chérubin, j’ai apporté du bonbon pour vous. donne le moi tout de suite et puis va-t-en (1838-1840)

Paul Gavarni (French, 1804-1866)
Au reçu de ce biller montez à cheval. Et cette femme, c’est la vôtre

Au reçu de ce biller montez à cheval. Et cette femme, c’est la vôtre (1840)

Paul Gavarni (French, 1804-1866)
Tu mettras plus jamais ton chapeau qui sent la pipe, n’est pas m’man

Tu mettras plus jamais ton chapeau qui sent la pipe, n’est pas m’man (1838-1840)

Paul Gavarni (French, 1804-1866)
Adieu mon bon homme Je te laisse ma pipe et ma femme

Adieu mon bon homme Je te laisse ma pipe et ma femme (1839-1841)

Paul Gavarni (French, 1804-1866)
Le marquis de Chancelles est à Naples

Le marquis de Chancelles est à Naples (1840-1841)

Paul Gavarni (French, 1804-1866)
T’en es donc bien coiffée du petit

T’en es donc bien coiffée du petit

Paul Gavarni (French, 1804-1866)
Mon Dieu çà lui a pris hier au soir après que Mossieu a été parti. ah nous avons eu joliment peur

Mon Dieu çà lui a pris hier au soir après que Mossieu a été parti. ah nous avons eu joliment peur (1840)

Paul Gavarni (French, 1804-1866)
C’est mon débardeur

C’est mon débardeur (1840)

Paul Gavarni (French, 1804-1866)
Un petit de la pension qui disait que t’étais renégat, j’y ai fichu des gifflets. n’est ce pas, père, que t’es catho

Un petit de la pension qui disait que t’étais renégat, j’y ai fichu des gifflets. n’est ce pas, père, que t’es catho (1838-1840)

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)
Est-ce que c’est vrai, Mosieu d’Alby, que tu couperas des liards en quatre. sapristi comment donc que tu peux fair

Est-ce que c’est vrai, Mosieu d’Alby, que tu couperas des liards en quatre. sapristi comment donc que tu peux fair (1838-1840)

Paul Gavarni (French, 1804-1866)
Regarde-moi un peu cet habit-là. comme c’est étudié

Regarde-moi un peu cet habit-là. comme c’est étudié (1839-1841)

Paul Gavarni (French, 1804-1866)
Maman a écrit à mosieu Prosper et papa a vu la lettre. Ô il était joliment en colère papa. parceque maman avait fai

Maman a écrit à mosieu Prosper et papa a vu la lettre. Ô il était joliment en colère papa. parceque maman avait fai (1838-1840)

Paul Gavarni (French, 1804-1866)
Mistress W. G.

Mistress W. G. (1857)

Paul Gavarni (French, 1804-1866)
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