04 Works, The art of War, Pierre-Georges Jeanniot's Art bearing witness to the agonies of war, with Footnotes

Pierre Georges Jeanniot 

The Survivors of a Massacre Used as Gravediggers, c. 1915

Lithograph on wove paper

8 9/16 x 11 7/16 in.

Clark Art Institute

Pierre Georges Jeanniot 

The Most Tragic Incident at Sieur Vassé's, c. 1915

Lithograph on wove paper

8 1/4 x 9 1/4 in. (21 x 23.5 cm)

Clark Art Institute

Pierre Georges Jeanniot 

Old Woman Being Maltreated by Three German Soldiers in a Church during World War I, c. 1916,

Etching on wove paper

8 1/8 x 10 15/16 in. (20.7 x 27.8 cm) 

Clark Art Institute

Pierre Georges Jeanniot 

A Scene from the Diary of Soldier Z... from the 12th Reserve Infantry Regiment of the First Corps of the Imperial German Army, 1915

Lithograph on wove paper

8 11/16 x 7 1/16 in. (22 x 18 cm)

Clark Art Institute

Pierre Georges Jeanniot was taught by his father Pierre-Alexandre Jeanniot, who for a long time was director of the art college in Dijon. He embarked on a military career, but exhibited watercolours as early as 1872 at the Paris Salon. In 1873, he exhibited his first oil painting there, Le Vernan at Nass-sous-Ste-Anne, and continued to show work there regularly. In 1881, having reached the rank of captain, he left the army in order to work full time as an artist. He settled in Paris, where he won an honourable mention in the Salon of 1882, a third-class medal in 1884 and a silver in 1889 and 1900. His was an assured and independent mind, and so he joined the Société Nationale des Beaux-Arts as soon as it was set up in 1890. He was made a Chevalier of the Légion d’Honneur.

The earliest works he sent in consisted mainly of scenes of military life. Later he was best known for his scenes of fashionable women in Paris at the time of the Belle Époque and on the beaches of the then very new seaside resorts, and for his views of race-meetings, all of these providing valuable sociological evidence. He also illustrated many literary works, among them Maupassant’s Contes choisis (1886), Germinie Lacerteux (1886), Goncourt’s La fille Élisa (1895), and Daudet’s Tartarin de Tarascon (1887). He collaborated on the illustration of Victor Hugo’s Les Misérables in 1887 and also illustrated Zola’s La Débâcle and The Rat-Race (La Curée) of 1893-1894, Octave Mirbeau’s Calvary (Le Calvaire) of 1901, Molière’s Le Misanthrope in 1907, Balzac’s The Peasants (Les Paysans) in 1911, Les Liaisons dangereuses by Laclos in 1917, as well as Voltaire’s Candide and the Voyage à St-Cloud and other works. He was one of those who launched Modern Life (La Vie Moderne), and later he directed the Journal amusant. His drawing is vigorous and expressive, and his great strength lay in his brilliant depictions of the comedy of contemporary life. More on Pierre Georges Jeanniot

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Work, The art of War, Francesco Verio's The Wounded, with Footnotes

Francesco Verio

The Wounded, c. 2010

Oil and acrylic on canvas

cm 100 x 100 

Private collection

As in every war, the wounded are far more numerous than those killed. Common combat injuries include second and third degree burns, broken bones, shrapnel wounds, brain injuries, spinal cord injuries, nerve damage, paralysis, loss of sight and hearing, post-traumatic stress disorder, and limb loss. More on the wounded

Criticism often addresses Francesco Verio as a young painter, but it is true that his proven artistic experience and his decades-long participation in personal and collective exhibitions restore the image of an artist that youth has truly never abandoned, if with it we interpret the liveliness of ingenuity, the freshness of the enthusiasm with which research develops and deepens, the desire and courage to compete with tradition and the experience gained. In this Francesco Verio is young, and his gaze on the world throbs with a vitality always in search of new expressive possibilities. More on Francesco Verio

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

Images are copyright of their respective owners, assignees or others. Some Images may be subject to copyright

I don't own any of these images - credit is always given when due unless it is unknown to me. if I post your images without your permission, please tell me.

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01 Work, The art of War, Henri-Charles-Etienne Dujardin-Beaumetz's A la baïonnette/ With the bayonet, with Footnotes

Henri-Charles-Etienne Dujardin-Beaumetz  (1852–1913)

A la baïonnette/ With the bayonet, c. between 1870 and 1885

Oil on canvas

height: 130.5 cm (51.3 in); width: 99 cm (38.9 in)

Musée Petiet de Limoux

Etienne Dujardin-Beaumetz offers us with this painting a very dynamic composition given by the receding perspective formed by the lines of the roofs at the top and the staggering of the characters at the bottom. The smoke effects and the large gestures of the soldiers accentuate the impression of movement.

This battle took place in Champigny on December 2, 1870. More on this painting

Etienne Dujardin Beaumetz is a renowned French actor and filmmaker who has captivated audiences around the world with his remarkable talent and distinct on-screen presence. Born on June 5, 1972, in Paris, France, Etienne discovered his passion for acting at a young age and pursued his dreams relentlessly. After completing his education in theater arts, Etienne began his acting career in the late 1990s, quickly establishing himself as a versatile performer. His charismatic personality and natural ability to immerse himself in diverse roles garnered critical acclaim and earned him a loyal fan base. With a charming smile and an undeniable charm, Etienne enchanted audiences in both films and theater productions. Throughout his illustrious career, Etienne has collaborated with some of the most celebrated directors in the industry, showcasing his range and skill in a wide array of genres. From intense dramatic performances to hilarious comedic roles, Etienne effortlessly transitions between characters, breathing life into each project he takes on. In addition to his acting prowess, Etienne ventured into filmmaking, demonstrating his multifaceted abilities behind the camera. Drawing inspiration from his experiences as an actor, he directed and produced several independent films that received critical acclaim and further solidified his position as a creative force. Etienne's talent extends beyond the silver screen. He is also actively involved in philanthropy, using his influence to support various causes close to his heart. He is an ambassador for several charitable organizations, working tirelessly to raise awareness and funds for causes such as education, environmental conservation, and social justice. As an international icon, Etienne Dujardin Beaumetz continues to inspire aspiring actors and filmmakers across the globe with his dedication, passion, and immense talent. His contributions to the world of entertainment and his commitment to making a positive impact prove that he is not only a gifted artist but also a compassionate human being. Etienne's legacy will undoubtedly leave an indelible mark on the film industry and beyond. More on Etienne Dujardin Beaumetz

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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ther free sources online.

02 Works, The art of War, Francesco Verio's Journey in vain hopes, with Footnotes

Francesco Verio (1959)

Journey in vain hopes

Oil on canvas

HEIGHT 100 cm  WIDTH 150 cm

Private collection

More than 2,500 people have died or gone missing while trying to cross the Mediterranean to Europe so far this year, while approximately 186,000 people have arrived in European countries during the same period.

Of the 186,000 who had crossed the Mediterranean, 83 percent – some 130,000 people – landed in Italy. Other countries where people who had crossed the Mediterranean had landed included Greece, Spain, Cyprus and Malta.

Francesco Verio

Shipwrecked

Oil on canvas

cm 40x50

Private collection

The number of those who died or went missing during the dangerous sea crossing has surged this year compared with last year. Over 2,500 people were accounted as dead or missing in 2023 alone.” That number marked a large increase over the 1,680 who died or went missing in the same period in 2022.

They are refugees and economic migrants fleeing homelands ruptured by war, repression and poverty. Their journeys are perilous in overcrowded wooden fishing boats and flimsy polyurethane dinghies hardly suitable for crossing a river, much less a vast sea.

They risk everything for a chance at freedom and dignity. Many perish. More on migrants crossing to Europe

Criticism often addresses Francesco Verio as a young painter, but it is true that his proven artistic experience and his decades-long participation in personal and collective exhibitions restore the image of an artist that youth has truly never abandoned, if with it we interpret the liveliness of ingenuity, the freshness of the enthusiasm with which research develops and deepens, the desire and courage to compete with tradition and the experience gained. In this Francesco Verio is young, and his gaze on the world throbs with a vitality always in search of new expressive possibilities. More on Francesco Verio

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Work, The art of War, Henri-Charles-Etienne Dujardin-Beaumetz's General Lapasset burning his flags, with Footnotes

Henri-Charles-Etienne Dujardin-Beaumetz  (1852–1913)

General Lapasset burning his flags, c. , before 1882

Oil on canvas

height: 156.5 cm (61.6 in); width: 206 cm (81.1 in)

Petiet museum in Limoux 

The artwork depicts General Ferdinand Auguste Lapasset, a French military leader during the Franco-Prussian War, engaging in an act of profound symbolism. In this poignant scene, General Lapasset is shown solemnly burning his country's flags. It serves as a representation of defeat and surrendering to the enemy forces from Prussia. With contemplation etched on his face and head in hands, he reflects upon the honorable but devastating loss suffered by the French army. The artist skillfully captures the emotions that run deep within General Lapasset's soul through meticulous brushstrokes and vibrant colors. The tricolore flag engulfed in flames symbolizes both resilience and acceptance amidst adversity. This masterpiece not only portrays one man's personal struggle with defeat but also encapsulates the collective sentiment of an entire nation at that time. It invites viewers to contemplate themes of patriotism, sacrifice, and resilience while offering a glimpse into historical events that shaped France's identity. More on this painting

Etienne Dujardin Beaumetz is a renowned French actor and filmmaker who has captivated audiences around the world with his remarkable talent and distinct on-screen presence. Born on June 5, 1972, in Paris, France, Etienne discovered his passion for acting at a young age and pursued his dreams relentlessly. After completing his education in theater arts, Etienne began his acting career in the late 1990s, quickly establishing himself as a versatile performer. His charismatic personality and natural ability to immerse himself in diverse roles garnered critical acclaim and earned him a loyal fan base. With a charming smile and an undeniable charm, Etienne enchanted audiences in both films and theater productions. Throughout his illustrious career, Etienne has collaborated with some of the most celebrated directors in the industry, showcasing his range and skill in a wide array of genres. From intense dramatic performances to hilarious comedic roles, Etienne effortlessly transitions between characters, breathing life into each project he takes on. In addition to his acting prowess, Etienne ventured into filmmaking, demonstrating his multifaceted abilities behind the camera. Drawing inspiration from his experiences as an actor, he directed and produced several independent films that received critical acclaim and further solidified his position as a creative force. Etienne's talent extends beyond the silver screen. He is also actively involved in philanthropy, using his influence to support various causes close to his heart. He is an ambassador for several charitable organizations, working tirelessly to raise awareness and funds for causes such as education, environmental conservation, and social justice. As an international icon, Etienne Dujardin Beaumetz continues to inspire aspiring actors and filmmakers across the globe with his dedication, passion, and immense talent. His contributions to the world of entertainment and his commitment to making a positive impact prove that he is not only a gifted artist but also a compassionate human being. Etienne's legacy will undoubtedly leave an indelible mark on the film industry and beyond. More on Etienne Dujardin Beaumetz

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Work, The art of War, Emil Hünten's Battle of Mars-La-Tour, August 16,1870, with Footnotes

Emil Hünten  (1827–1902)

Battle of Mars-La-Tour, August 16,1870 , c. 1902

On behalf of the Supreme Prince Henry VII of Reuss in Bonn.

Oil on canvas

height: 140 cm (55.1 in); width: 205 cm (80.7 in)

Bismarck-Museum, Friedrichsruh

Battles of Mars-la-Tour and Gravelotte, (Aug. 16–18, 1870), two major engagements of the Franco-German War in which the 140,000-man French Army of the Rhine, under Marshal Achille-François Bazaine, failed to break through the two German armies under General Helmuth von Moltke and were bottled up in the fortress of Metz. It was followed by the Count de Mac-Mahon’s abortive attempt to rescue Bazaine, which ended in Mac-Mahon’s crushing defeat at Sedan.

The French Army had been in retreat and its command in a state of shock since German victories in the first week of August. Bazaine was given command of the Army of the Rhine on August 12, as it was falling back from Metz toward Verdun. He was intercepted on August 16 by the German general Constantine von Alvensleben’s III Corps of 30,000 men near Vionville, east of Mars-la-Tour. Alvensleben, with one-quarter the troops of Bazaine, captured and secured Vionville, thus blocking the French escape route toward the west. The resulting Battle of Mars-la-Tour included the last major cavalry engagement in western Europe. Each side suffered about 16,000 casualties. More on Battle of Mars-La-Tour

Emil Johannes Hünten (19 January 1827 – 1 February 1902) was a German military painter. His works were often lithographed.

Born in Paris on 19 January 1827, he studied art under Hippolyte Flandrin and Horace Vernet at the Ecole des Beaux Arts. In 1848, he moved to Antwerp to work in the studios of Gustaf Wappers and Josephus Laurentius Dyckmans, before heading to Düsseldorf in 1851 where his teachers were Julius Lessing and Wilhelm Camphausen.

With such influences, it is not surprising that the artist began to paint historical scenes from the life of Frederick the Great, and gradually turned to military subjects. His work appealed to Crown Prince Frederick William of Prussia who invited him to accompany the army on the campaign in Schleswig-Holstein in 1864. Two years later, Hünten was attached to the Prussian forces in the Austro-Prussian War, and four year later, he covered the Franco-Prussian War.

Among his customers were many famous people. Otto von Bismarck ordered a scene from the Battle of Gravelotte. He won medals for his works at Berlin (1872) and Vienna (1873), and became a member of the Berlin Academy in 1878. He excelled also as a painter of horses. 

He died at Düsseldorf on 1 February 1902. More on Emil Johannes Hünten

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Work, The art of War, Pierre Georges Jeanniot's La ligne de feu/ The line of fire, with Footnotes

Pierre Georges Jeanniot 

La ligne de feu/ The line of fire, 16 août 1870, c. 1886

Depicting the Battle of Mars-La-Tour

Oil on canvas

 Musée des Beaux-Arts de Pau

The Battle of Mars-la-Tour was fought on 16 August 1870, during the Franco-Prussian War, near the village of Mars-La-Tour in northeast France. One Prussian corps, reinforced by two more later in the day, encountered the entire French Army of the Rhine in a meeting engagement and, following the course of battle, the Army of the Rhine retreated toward the fortress of Metz. More on Battle of Mars-La-Tour

Pierre Georges Jeanniot was taught by his father Pierre-Alexandre Jeanniot, who for a long time was director of the art college in Dijon. He embarked on a military career, but exhibited watercolours as early as 1872 at the Paris Salon. In 1873, he exhibited his first oil painting there, Le Vernan at Nass-sous-Ste-Anne, and continued to show work there regularly. In 1881, having reached the rank of captain, he left the army in order to work full time as an artist. He settled in Paris, where he won an honourable mention in the Salon of 1882, a third-class medal in 1884 and a silver in 1889 and 1900. His was an assured and independent mind, and so he joined the Société Nationale des Beaux-Arts as soon as it was set up in 1890. He was made a Chevalier of the Légion d’Honneur.

The earliest works he sent in consisted mainly of scenes of military life. Later he was best known for his scenes of fashionable women in Paris at the time of the Belle Époque and on the beaches of the then very new seaside resorts, and for his views of race-meetings, all of these providing valuable sociological evidence. He also illustrated many literary works, among them Maupassant’s Contes choisis (1886), Germinie Lacerteux (1886), Goncourt’s La fille Élisa (1895), and Daudet’s Tartarin de Tarascon (1887). He collaborated on the illustration of Victor Hugo’s Les Misérables in 1887 and also illustrated Zola’s La Débâcle and The Rat-Race (La Curée) of 1893-1894, Octave Mirbeau’s Calvary (Le Calvaire) of 1901, Molière’s Le Misanthrope in 1907, Balzac’s The Peasants (Les Paysans) in 1911, Les Liaisons dangereuses by Laclos in 1917, as well as Voltaire’s Candide and the Voyage à St-Cloud and other works. He was one of those who launched Modern Life (La Vie Moderne), and later he directed the Journal amusant. His drawing is vigorous and expressive, and his great strength lay in his brilliant depictions of the comedy of contemporary life. More on Pierre Georges Jeanniot

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Work, The art of War, Toyen's Na Zámku La Coste (At La Coste Castle), with Footnotes

Toyen

Na Zámku La Coste (At La Coste Castle), c. 1943

Oil on canvas

25 5⁄8 × 34 1⁄4″

Hamburger Kunsthalle

Toyen's life’s work occupies a unique position in the male-dominated Czech avant-garde art scene as well as in international Surrealism and art up to the 1970s. André Breton celebrated the Surrealist for her moving paintings and graphic work, which she steadfastly pursued between Prague, the »magical capital of Europe«, and her exile in Paris. TOYEN’s images, as poetic as they are provocative, oscillate between reality and imagination, the seductive and the cryptic, and make a deep impression on the memory. They are a revelation. More on Toyen

Toyen, Marie Čermínová (21 September 1902, Prague – 9 November 1980, Paris), known as Toyen, was a Czech painter, drafter and illustrator and a member of the surrealist movement.

From 1919 to 1920, Toyen attended UMPRUM (Academy of Arts, Architecture and Design) in Prague. She worked closely with fellow Surrealist poet and artist Jindřich Štyrský until Štyrský's death. They joined the Devětsil group in 1923 and exhibited with the group. In the early 1920s Toyen travelled to Paris, and soon returned there with Štyrský. While living in Paris, the two founded an artistic alternative to Abstraction and Surrealism, which they dubbed Artificialism. They returned to Prague in 1928. More on Toyen

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Work, The art of War, Eliran Kantor's Of Truth and Sacrifice, with Footnotes

Eliran Kantor

Of Truth and Sacrifice

Museum Grade Giclée Print

21 x 21 inch

Private collection

Of Truth and Sacrifice is the ninth studio album by German extreme metal band Heaven Shall Burn, released on 20 March 2020 through Century Media Records. 

The song "Heaven Shall Burn" by Imminence explores themes of sacrifice, hopelessness, and inner turmoil. The lyrics depict a bleak and desperate world where the streets run red with blood, symbolizing the pain and suffering endured by the protagonist and perhaps the larger society. More on this work

Eliran Kantor is a self-taught artist and illustrator, at age 21 he was hired by the resident advertising firm of one of the biggest media moguls in the country, where Eliran directed and designed the national campaigns for the likes of Renault and Visa, only to quit the advertising business a year later in order to focus on creating artwork for metal / rock album covers.

By 2013 his work appeared on over 100 record covers for (but not limited to) : Testament, Iced Earth, Hatebreed, Sodom, GWAR, Kataklysm, Anacrusis, Atheist, Sigh, Mekong Delta, Satan, Tristania & Aghora among many others. More on Eliran Kantor

Please visit my other blogs: Art Collector, Mythology, Marine Art, Portrait of a Lady, The Orientalist, Art of the Nude and The Canals of Venice, Middle East Artists, 365 Saints, 365 Days, and Biblical Icons, also visit my Boards on Pinterest

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01 Work, The art of War, Richard Jack's First World War, The Taking of Vimy Ridge, with Footnotes

Richard Jack  (1866–1952)

First World War, The Taking of Vimy Ridge, Easter Monday 1917, c. 1919

Oil on canvas

height: 364 cm (11.9 ft) ; width: 591 cm (19.3 ft)

Canadian War Museum

As far as Urquhart could determine, the 10th Battalion men were not digging in, possibly because its command structure was in disarray after Boyle’s death. Hoping to help restore order, Urquhart approached the battalion’s second- in-command, Major Joseph MacLaren, and relayed Leckie’s orders about digging in. Seemingly distracted, MacLaren replied that “he was wounded in the leg” and headed toward the rear. MacLaren was eventually loaded into an ambulance, but it was struck by an artillery shell while passing through Ypres and the officer was killed. More on this painting

Richard Jack was the first Canadian official war artist, appointed in 1916. In this painting, he depicts the crew of an 18-pounder field gun firing at German positions on Vimy Ridge. To the left, wounded soldiers move past the gun towards the rear.

The battle at Vimy Ridge in April 1917 is Canada's most famous. Richard Jack's depiction focuses on the technology that enabled the assault to succeed. Of Canada's many First World War battles, the successful assault at Vimy Ridge in April 1917 is the most famous. Victory cost more than ten thousand casualties. "Battle Vimy Ridge," Lieutenant H. L. Scott of the Canadian Engineers wrote in his diary, "Heavy return fire. The whole earth seemed to be in the air. When in air, came down to be blown up again. Worst battle in history of war to date. Hundreds blinded, arms and legs off. One man without arms and legs still living." Richard Jack's depiction avoids this tragic cost and concentrates instead on the technology that enabled the assault to succeed. Richard Jack was the first Canadian official war artist, appointed in 1916. In this painting, he depicts the artillery detachment of an Ordnance QF 4.5-inch Howitzer firing at German positions on Vimy Ridge. To the left, wounded soldiers move past the gun towards the rear. More on this painting

Richard Jack RA RI (15 February 1866 – 30 June 1952) was a British painter of portraits, figure subjects, interiors and landscapes, and prominent war artist for Canada.

He studied at York School of Art before winning a national scholarship to the Royal College of Art in 1886. There he won a gold medal and in 1888 a travelling scholarship to the Académie Julian. On his return to London in the early 1890s, he worked for a time on the staff of The Idler and for Cassell's Magazine as a black-and-white artist. He was awarded a silver medal at the 1900 Paris International Exhibition and at the Carnegie International in Pittsburgh in 1914. Jack was elected an Associate of the Royal Academy of Arts in February 1914 and a full Academician in 1920. In 1916, he accepted a commission in the Canadian Army to paint for the Canadian War Records Office, becoming Canada's first official war artist. 

In the 1920s Jack became fond of Canada, making several visits there with his family. After his daughter met and married the Ottawan businessman Victor Whitehead, Jack and his wife moved to Montreal. Inspired by Canadian scenery, particularly the Rockies, Jack took to landscape paintings, as well as portraits.

More than 40 Richard Jack paintings hang in UK public collections including one of composer Colin McAlpin in the collection of the Leicester Arts and Museums Service.

He died Monday, June 30, 1952. More on Richard Jack

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01 Work, The art of War, Henri-Georges Chartier's French infantry recapturing Fort Douaumont, with Footnotes

Henri-Georges Chartier  (1859–1924)

French infantry recapturing Fort Douaumont on the 24 October 1916

Oil on canvas

Army Museum

The French Second Army made a first attempt to recapture the fort in late May 1916. They occupied the western end of the fort for 36 hours but were dislodged after suffering heavy losses, mostly from German artillery and trench mortars nearby. The Germans stubbornly held onto the fort, as it provided shelter for troops and served as first aid station and supply dump. French artillery continued to shell the fort, turning the area into a pockmarked moonscape, traces of which are still visible. More on Fort Douaumont

History through images aims to enrich knowledge of the past through works of art and iconographic documents relating to it. Many works, whatever their nature (painting, sculpture, photography, drawing, engraving, etc.), too often remain used as simple illustrations and deserve to be analyzed beyond the brief caption that most often accompanies them. These works do not only refer to significant events in French history (revolutions, wars, regime changes, etc.). The artists of past centuries have indeed left us a remarkable amount of testimony on the major social and cultural developments that France has experienced since the Revolution. More on this painting 

A painter of history and military subjects, Chartier, studied at the École des Beaux-Arts in Paris with Alexandre Cabanel (1823-1889), and exhibited for the first time at the Salon in 1885 (G. Schurr and P. Cabanne, Dictionnaire des petits maîtres de la peinture, 1820-1920, Paris, 1996, I, p. 256). The Musée de l’Armée in Paris holds several paintings by the artist, illustrating the Napoleonic wars, including La Veille de Waterloo (17 juin 1815) (‘The eve of Waterloo’) from 1907 (inv. 04808). In the present work, Chartier leaves behind his military subjects to depict himself in his studio with his palette and brushes. More on Henri-Georges Chartier

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