Louis Boilly

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Louis Boilly
1761-1845
Standing Man Seen Three-Quarter-Length, Facing Left
Black and white chalk, on brown wove paper.
10 1/2 x 9 7/8 inches (268 x 239 mm)
Purchased on the Sunny Crawford von Bülow Fund 1978.
1977.38
Provenance: 
Unidentified collector's dry stamp FM; Walter Goetz tbc (according to Kate de Rithschild); sale, London, Christie's, 8 December 1976, lot 113, pl. 43 (as Study of a Tailor).
Bibliography: 

Ryskamp, Charles, ed. Eighteenth Report to the Fellows of the Pierpont Morgan Library, 1975-1977. New York : Pierpont Morgan Library, 1978, p. 249.
Denison, Cara D. French Drawings, 1550-1825. New York : Pierpont Morgan Library, 1984, no. 95.
Denison, Cara D. French Master Drawings in the Pierpont Morgan Library. New York : Pierpont Morgan Library, 1993, no. 97, repr.
Denison, Cara D., with Stephanie Wiles and Ruth S. Kraemer. Fantasy and Reality : Drawings from the Sunny Crawford von Bülow Collection. New York : Pierpont Morgan Library, 1995, no. 26, repr.
Russell 1977, p. 153, fig. 116; PML/FR XVIII, 1978, p. 249; Siegfried 1989, p.127, fig. 6; Susan Siegfried 1990, p. 520, pl. 61.

Notes: 

Watermark: none.
Study for the man at right of composition loading boxes onto a barrow in "Les Déménagements", the painting exhibited in the Salon of 1822, which is now in the Art Institute of Chicago.

Summary: 

This study is part of Boilly's elaborate preparations for Les Déménagements, the painting now in the Art Institute of Chicago (repr. ?) which Boilly exhibited in the Salon of 1822. The artist carefully constructed this genre subject to depict the spectacle of ordinary people moving their sundry belongings through the streets to find new lodgings. Although it may be seen that Boilly's model in the Morgan drawing was middle-aged, the artist ultimately transformed him into the older, bald man in the painting, who is seen loading boxes onto a barrow at the right of the composition. In this study, Boilly examines the effect of the light on the textures of the man's costume, especially his shirt. The subject was successful and a print after the composition was made by Jean-Henri Marlet (Siegfried 1990, pl. 63). A large watercolor sketch of the entire subject is now in the Musée des Beaux-Arts, Lille (repr.?), and the Musée Cognacq-Jay, Paris, has an oil replica which the artist made in 1840 (repr.?).

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