File:WLA metmuseum Jean Béraud.jpg

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This file has been superseded by Jean Béraud, The Church of Saint-Philippe-du-Roule, Paris.jpg. It is recommended to use the other file. Please note that deleting superseded images requires consent.
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Jean Béraud: Sunday at the Church of Saint-Philippe-du-Roule, Paris  wikidata:Q19912094 reasonator:Q19912094
Artist
Jean Béraud  (1849–1935)  wikidata:Q461907
 
Jean Béraud
Alternative names
Jean Beraud; Béraud; Beraud; J. Beraud
Description French painter
Date of birth/death 12 January 1849 Edit this at Wikidata 4 October 1935 Edit this at Wikidata
Location of birth/death Saint Petersburg rue du Boccador
Work location
Paris Edit this at Wikidata
Authority file
artist QS:P170,Q461907
image of artwork listed in title parameter on this page
Title
English: The Church of Saint-Philippe-du-Roule, Paris.
Object type painting Edit this at Wikidata
Date 1877 Edit this at Wikidata
Medium oil on canvas
medium QS:P186,Q296955;P186,Q12321255,P518,Q861259
Dimensions height: 81 cm (31.8 in); width: 59.4 cm (23.3 in)
dimensions QS:P2048,81U174728
dimensions QS:P2049,59.4U174728
institution QS:P195,Q160236
Accession number
55.35
Exhibition history
  • Paris. Salon. May 1, 1877–?, no. 173 (as "Le dimanche, près de Saint-Philippe-du-Roule").
  • New York. American Fine Arts Society. "Loan Exhibition," February 13–March 26, 1893, no. 45 (lent by S. P. Avery Jr.) [see Ref. Sterling and Salinger 1966].
  • New York. The Metropolitan Museum of Art. "Van Gogh as Critic and Self-Critic," October 30, 1973–January 6, 1974, no. 15.
  • New York. The Metropolitan Museum of Art. "Impressionism: A Centenary Exhibition," December 12, 1974–February 10, 1975, not in catalogue.
  • Roslyn Harbor, N.Y. Nassau County Museum of Art. "La Belle Époque," June 11–September 24, 1995, unnumbered cat.
Credit line Gift of Mr. and Mrs. William B. Jaffe, 1955
Inscriptions Signed (lower left): Jean Béraud—; inscribed (on shop signs): [illegible]
Notes When this painting was exhibited in the Salon of 1877, it was seen as a document of contemporary Parisian life. Béraud depicts a view of the rue du Faubourg St.-Honoré, which had recently become a fashionable shopping street. The church was designed in the eighteenth century by the architect J.F. Chalgrin.
References
  • [Jules] Castagnary. "Salon de 1877 (Suite et fin)." Le Siècle (May 9, 1877), p. 2.
  • Frédéric Chevalier. "L'Impressionnisme au Salon." L'Artiste 49 (July 1877), p. 36.
  • [Louis Emile Edmond] Duranty. "Réflexions d'un bourgeois sur le Salon de peinture (1er article)." Gazette des beaux-arts 15 (June 1877), pp. 564, 566–67, ill. (sketch by Béraud).
  • F[rançois]. Fertiault. Salon de 1877: Causeries d'un flaneur. Paris, 1877, p. 94, relates this picture to Isabey.
  • "Salon de peinture de 1877. La fleur du livret." La France (May 1, 1877), p. 1 [see Ref. Offenstadt 1999].
  • Paul Mantz. "Le Salon." Le Temps (June 3, 1877), p. 1, praises this picture, remarking "on n'est pas plus moderne que M. Béraud".
  • Albert Mérat. Le Petit Salon 1877. Paris, 1877, p. 4.
  • Mario Proth. Voyage au pays des peintres: Salon de 1877. Paris, 1877, p. 132, calls this painting too photographic.
  • Charles Tardieu. "Salon de Paris, 1877: Les récompenses." L'Art 9 (1877), p. 276.
  • Th[éodore]. Véron. Dictionnaire Véron ou Mémorial de l'art et des artistes de mon temps: Le Salon de 1877. Poitiers, 1877, p. 79.
  • J. C. "Une soirée. Tableau de M. Béraud." L'Illustration 72 (September 14, 1878), p. 166.
  • J.-K. Huysmans. "Le Salon de 1879." Le Voltaire (June 10, 1879), p. 1 [reprinted in Huysmans, "Écrits sur l'art: 1867–1905," Paris, 2006, p. 137].
  • Maurice du Seigneur. L'Art et les artistes au Salon de 1880. Paris, 1880, p. 11.
  • Paul Leroi. "L'Exposition de Lille." L'Art 26 (1881), p. 309.
  • Henry Houssaye. L'Art français depuis dix ans. Paris, 1882, pp. 153, 156, as "La Sortie de Saint-Philippe-du-Roule"; criticizes it for various inaccuracies including the size and color of the street; comments that without more lively colors, this genre of painting has no more artistic value than a sketch from "Illustration".
  • Eugène Montrosier. "Peintres divers." Les Artistes modernes. 4, Paris, 1884, p. 123.
  • "Jean Béraud." La Vie artistique (July 24, 1887), p. 355 [see Ref. Offenstadt 1999].
  • L[éon]. Roger-Milès. "Jean Béraud." La Revue illustrée 16 (September 1, 1893), pp. 193–94, calls it "Le Dimanche près de Saint-Philippe du Roule".
  • Frédéric Masson. "L'Exposition décennale." Figaro-Salon no. 3 (September 1900), p. 61.
  • J.-P. Crespelle. Les Maîtres de la belle époque. [Paris], 1966, p. 137, as "Le Dimanche à Saint-Philippe-du-Roule".
  • Charles Sterling, and Margaretta M. Salinger. "XIX Century." French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. 2, New York, 1966, p. 216, ill.
  • Charles S. Moffett. Van Gogh as Critic and Self-Critic. Exh. cat., The Metropolitan Museum of Art. New York, 1973, unpaginated, no. 15, dates it about 1877.
  • J. Kirk T. Varnedoe in Gustave Caillebotte. Exh. cat., Museum of Fine Arts, Houston. Houston, 1976, p. 48, fig. 1.
  • Richard Thomson. Toulouse-Lautrec. London, 1977, p. 8, fig. 3.
  • Jennifer A. Martin Bienenstock. "Childe Hassam's Early Boston Cityscapes." Arts Magazine 55 (November 1980), p. 171 n. 28, fig. 5.
  • Patricia Gardner Cleek in The Preston Morton Collection of American Art. Santa Barbara, 1981, p. 183, fig. 2.
  • Richard Shiff. Cézanne and the End of Impressionism. Chicago, 1984, pp. 8, 203–4, 298 n. 17, figs. 2 and 44, remarks that this picture does "share one very important quality with other 'impressionist' works: except for the stagelike emptiness of its foreground, it lacks the more obvious compositional devices and seems instead to capture the life of a moment as if without preconception or arrangement".
  • Richard Shiff in The New Painting: Impressionism 1874–1886. Exh. cat., National Gallery of Art, Washington. San Francisco, 1986, p. 63, fig. 1, dates it 1877.
  • Patrick Offenstadt. "Le Paris disparu de Jean Béraud." L'Oeil no. 380 (March 1987), p. 35.
  • H. Barbara Weinberg, Doreen Bolger, and David Park Curry. American Impressionism and Realism: The Painting of Modern Life, 1885–1915. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 143, 173–74, fig. 161.
  • Franklin Hill Perrell in La Belle Époque. Exh. cat., Nassau County Museum of Art. Roslyn Harbor, N. Y., 1995, p. 47, mentions it among paintings depicting the fashion of the House of Worth.
  • Constance Schwartz in La Belle Époque. Exh. cat., Nassau County Museum of Art. Roslyn Harbor, N. Y., 1995, pp. 11, 85.
  • Patrick Offenstadt. Jean Béraud, 1849–1935, The Belle Époque: A Dream of Times Gone By: Catalogue raisonné. Cologne, 1999, pp. 38, 47, 57, 84–85, 96–97, 360, 363, 365, no. 19, ill. (color), calls it "Saint-Philippe-du-Roule, Sunday" and dates it about 1877.
  • Nancy Forgione. "Everyday Life in Motion: The Art of Walking in Late-Nineteenth-Century Paris." Art Bulletin 87 (December 2005), pp. 667–68, 676, fig. 3, dates it 1877; observes that Béraud focuses on the external, surface appearance of his figures.
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