Artvee
  • Browse
    • Abstract
    • Figurative
    • Landscape
    • Religion
    • Mythology
    • Posters
    • Drawings
    • Illustration
    • Still Life
    • Animals
    • Botanical
    • Asian Art
  • Books
  • Artists
  • Explore
    • Topics
    • Culture
    • Movements
  • Highlights
  • Collections
  • Galleries
  • Artvee Pro
Login
Artvee
Menu
Paul Gavarni - Que diable Mon neuveu, il est bon d’être ambitieux mais on ne peut pas toujours travailler aussi A la campagne on s’

Que diable Mon neuveu, il est bon d’être ambitieux mais on ne peut pas toujours travailler aussi A la campagne on s’ (1839-1841)

Paul Gavarni (French, 1804-1866)
Facebook Twitter Pinterest
Favourite
Collect

Standard, 1451 x 1800px JPG, Size: 2.64 MB

Download

Max Size, 2780 x 3448px JPG, Size: 7.87 MB

Download
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)

Après le café

Après le café

Paul Gavarni (French, 1804-1866)
Et pas le Sou pour Souper

Et pas le Sou pour Souper

Paul Gavarni (French, 1804-1866)
Amanda. L’Ecuyer

Amanda. L’Ecuyer (1840)

Paul Gavarni (French, 1804-1866)
Avec l’agrément de cet agréable muf’e-là, pourrait-on, Madame, pincer avec toi le prochain rigodon

Avec l’agrément de cet agréable muf’e-là, pourrait-on, Madame, pincer avec toi le prochain rigodon (1840)

Paul Gavarni (French, 1804-1866)
Allez au bal de l’opéra avec Madame de Coquardeau. quelqu’aveugle qu’elle soit, une noblesse qui, songez-y-bien

Allez au bal de l’opéra avec Madame de Coquardeau. quelqu’aveugle qu’elle soit, une noblesse qui, songez-y-bien (1840)

Paul Gavarni (French, 1804-1866)
Malheureuse tu feras la honte de ton sexe et le desespoir du mien

Malheureuse tu feras la honte de ton sexe et le desespoir du mien (1840)

Paul Gavarni (French, 1804-1866)
J’ai un service à te demander, mon bon Joseph

J’ai un service à te demander, mon bon Joseph (1840-1841)

Paul Gavarni (French, 1804-1866)
C’est comme ça que tu les intrigues. Merci

C’est comme ça que tu les intrigues. Merci (1840)

Paul Gavarni (French, 1804-1866)
Domino

Domino

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)
Mosieu, on ne peut pas voir papa, il est en train de faire faillite

Mosieu, on ne peut pas voir papa, il est en train de faire faillite (1838-1840)

Paul Gavarni (French, 1804-1866)
Henri est fort bien. mais je crois que c’est Charles que j’aime le mieux. Alors épouse Henri

Henri est fort bien. mais je crois que c’est Charles que j’aime le mieux. Alors épouse Henri (1840)

Paul Gavarni (French, 1804-1866)
On aime donc un peu sa biche Trop, mauvais sujet

On aime donc un peu sa biche Trop, mauvais sujet (1840)

Paul Gavarni (French, 1804-1866)
Il faut te décider voyons Epouse Claire, avec le bois de Nangie, ou prends Clémence

Il faut te décider voyons Epouse Claire, avec le bois de Nangie, ou prends Clémence (1840-1841)

Paul Gavarni (French, 1804-1866)
J’te parie mon Alezan doré contre la vicomtesse que j’emporte ce soir le petit rat du baron

J’te parie mon Alezan doré contre la vicomtesse que j’emporte ce soir le petit rat du baron (1840)

Paul Gavarni (French, 1804-1866)
Load MoreLoading...
View all 395 Artworks

0 Artworks
Follow
Facebook Twitter Pinterest
Favourite
Collect

Standard, JPG, Size:

Download

Max Size, JPG, Size:

Download
License: All public domain files can be freely used for personal and commercial projects.
Why is this image in the public domain?
  • Terms
  • Privacy
  • Contact us
Artvee.com 2024 All Rights Reserved
We use cookies to improve your experience on our website. By browsing this website, you agree to our use of cookies.
More info Accept
  • Sign in
  • Browse
    • Abstract
    • Figurative
    • Landscape
    • Religion
    • Mythology
    • Posters
    • Drawings
    • Illustration
    • Still Life
    • Animals
    • Botanical
    • Asian Art
  • Artists
  • Books
  • Explore
    • Topics
    • Culture
    • Movements
  • Highlights
  • Collections
  • Galleries
  • Artvee Pro