Luc-Olivier Merson, 1903 - 'n Traan vir (Our Lady of Paris) - fyn kunsdruk

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Beskrywing deur die museum se webwerf (© Kopiereg - Maison de Victor Hugo - Hauteville House - Maison de Victor Hugo - Huis Hauteville)

The painting illustrates the main point of the episode being chapter IV of Book VI of Victor Hugo's novel "Notre Dame de Paris", "A tear for a drop of water", which gives the painting its title while synthesizing more elements of récit.Alors Quasimodo is tied to the pillory of the Greve in mockery and insults of the crowd ( "a thousand other insults rained down, and the jeers and imprecations, and laughter, and the stones here and there. "), he claims several times" to drink. " So Esmeralda, accompanied by her goat Djali, through the crowd, up the ladder of the pillory: "She went, without a word, the patient writhed vainly to escape her, and detaching a gourd from her belt, she gently brought to the parched lips of misérable.Alors in that eye hitherto dry and burned if they saw a big tear rolling slowly fell along the deformed face and long contracted with despair. It was the first perhaps the unfortunate had ever paid. "But the time is shown next, the text accompanying the etching of the first version of the work, published in the National Edition of the works of Victor Hugo, in 1889:" But he forgot to drink. The Egyptian made her pout forward and leaned smiling neck to the tusked month of Quasimodo. It took a long. His thirst was burning. "

This painting is part of orders placed by Paul Meurice living artists for the museum's opening in 1903. Luc-Olivier Merson had shown two volumes, published in 1889, of "Our Lady of Paris" for National Edition (Emile Testard and Co., publishers) that Paul supervised, especially for illustration. Paul Meurice as he deals directly with the artist without using Arsène Alexandre Fortuné Méaulle or sometimes serve as intermediaries for some commands (this will be the case for the control of "Burgraves" to Rochegrosse ). Alas, the letters to Merson Meurice, kept in the archives of the museum are not dated and therefore give no indication of the progress and completion of tableau.On may think it is this work for national Edition which guided his choice and that of the artist for a subject taken from the novel and perhaps also for the composition that incorporates part of the engravings inset of the first volume, introducing chapter IV of book VI, which gives its name to the painting: "a tear for a drop of water." This etching provides the base of the upper part of the painting, while undergoing certain transformations: the houses of his background partially modified due to the addition of the wooden railing, the pillory is redrawn, links appear for Quasimodo will hold more dramatic, the goat is moved to the left to the dynamics of the composition. The crowd, far away and barely visible in the background of the engraving is close and most importantly, it will give the new and lively pattern of the first plan.La new composition is carefully structured: starting from the dog's head at the bottom the canvas, the read line continues with the man's arm to the cap seen from the back, reinforced by twisting the child's gesture in the red cap and grip the man's face long black cap - the only one who looks at us that this cap student might call Jehan Frollo, mentioned in the story - while the hands in megaphone of his neighbor scarlet cap direct, along with his cry, look toward the forest hands that lead to the edge of the platform of stones where the goat, on a beautiful curve returns the line to the belt of the gypsy, the gesture of his arm to reach the visage of Quasimodo whose gaze leads us finally to the face Esmeralda. Thus it is carried bestiality angélisme.Toute to the composition, in fact based on a set of contrasts between the top and bottom; between saturation and empty; between the violent agitation of the crowd and the serenity of the hero; between the ugliness of Quasimodo and Esmeralda grace. This desire of antithesis not only meets the spirit of Victor Hugo but also important moment for the novel is the episode in which revives the fate of two children exchanged at birth where born love of Quasimodo in response to Esmeralda gesture that is - and only - affirmation of freedom and that compassion.Paul Meurice, text and guardian of the spirit, was closely following his orders probably by his conversations with Merson played a role in the design and details of the painting. The only accurate record of its intervention concerns Esmeralda, just to introduce more contrast and complexity in his face, and attach sensuality otherworldliness. Indeed, in a letter Merson replied: "I made the edits you kindly ask. I glittery dress, enriched scarf, put his arm bracelets, gold belt and increased hair sequins. There is only one thing I could do is to Esmeralda in short skirt. When you shall see the table you will understand immediately that the provision of the composition did not allow me to clear the legs. Despite this the dancer lost her virginity character. It is certainly more showman than before and I hope that the changes I made helping her, she will give a better impression to the character standpoint.

Esmeralda (literêre karakter); Quasimodo (literêre karakter)

Notre Dame de Paris (V.Hugo)

Background information on the artwork by Luc-Olivier Merson

"A tear drop for (Our Lady of Paris)" is a masterpiece by the artist Luc-Olivier Merson in 1903. Die anderkant 110 year old original had the following size: Height: 195 cm, Width: 110 cm and was painted on the medium Olie, doek (materiaal). Signature - Bottom left "Luc-Olivier Merson 1903" was the masterpiece's inscription. It is in the the Maison de Victor Hugo - Hauteville House's digitale versameling. Met vergunning van - Maison de Victor Hugo - Huis Hauteville (publieke domein).Kredietlyn van die kunswerk: . Boonop is die belyning in portret formaat en het 'n verhouding van 9 : 16, wat impliseer dat die lengte 45% korter as die breedte is.

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