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Paul Gavarni - Représentation à bénéfice

Représentation à bénéfice

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)

Ma bonne bisque, va M’man, de se lever comme ça de bonne heure. mais il était joliment sucré le café

Ma bonne bisque, va M’man, de se lever comme ça de bonne heure. mais il était joliment sucré le café (1838-1840)

Paul Gavarni (French, 1804-1866)
Ne vas pas te tromper Si c’est un Mosieu qui t’ouvre, tu diras ce que je t’ai dit

Ne vas pas te tromper Si c’est un Mosieu qui t’ouvre, tu diras ce que je t’ai dit (1840-1841)

Paul Gavarni (French, 1804-1866)
Agathe et toi, mon vieux Ferdinand, ça ne sera pas long

Agathe et toi, mon vieux Ferdinand, ça ne sera pas long (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)
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)
Tu avais bien raison ma femme. ah bien on peut dire que voilà une rencontre bizarre

Tu avais bien raison ma femme. ah bien on peut dire que voilà une rencontre bizarre (1840)

Paul Gavarni (French, 1804-1866)
Ma sainte te ressemble n’est pas Nini

Ma sainte te ressemble n’est pas Nini (1838)

Paul Gavarni (French, 1804-1866)
Voilà un gros Loulou qui vient passer toute la journée avec sa biche. Mais comment qu’il fait donc, cet homme-là, pour

Voilà un gros Loulou qui vient passer toute la journée avec sa biche. Mais comment qu’il fait donc, cet homme-là, pour (1840)

Paul Gavarni (French, 1804-1866)
Masks and faces; What is done in the best society. To you the band, to me the sales pitch

Masks and faces; What is done in the best society. To you the band, to me the sales pitch

Paul Gavarni (French, 1804-1866)
Ma tante Amélie dit que t’es bien gentil mais que c’est dommage que tu es trop bête..

Ma tante Amélie dit que t’es bien gentil mais que c’est dommage que tu es trop bête.. (1838-1840)

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)
Standing Man

Standing Man

Paul Gavarni (French, 1804-1866)
Article 212 du Code civil.

Article 212 du Code civil. (1839-1841)

Paul Gavarni (French, 1804-1866)
Comment Lili ne reconnait pas son Nini

Comment Lili ne reconnait pas son Nini (1840)

Paul Gavarni (French, 1804-1866)
J’i ai dit j’i ai dit, Madame, si vous vous permettez de fich’les pattes ici quand j’y serai

J’i ai dit j’i ai dit, Madame, si vous vous permettez de fich’les pattes ici quand j’y serai (1840)

Paul Gavarni (French, 1804-1866)
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