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Zouaves Dead in a Trench Scene from the War of 1870
Håndmalet oliereproduktion fra $181 29 × 34 cm
Samme størrelse som originalen $228 46 × 55 cm Bestil i original størrelse →
Zouaves Dead in a Trench Scene from the War of 1870 (1870) er det mest berømte maleri af Auguste André Lançon, som er i Carnavalet Museums samling i Paris. Udvalgt fra de 2 værker af Auguste André Lançon i vores katalog er her de 2, som samlere og museumsgæster oftest opsøger, inklusiv årstal, museum og historien bag hvert værk.
Rangordnet efter vores popularitetsscore, som kombinerer søgninger, besøg og ordrer for hvert værk. Opdateret november 2026. Hvert mesterværk på denne side kan bestilles som en håndmalet oliereproduktion i museumskvalitet eller som et kunsttryk i den størrelse, du vælger.
Det museum, der rummer flest af malerierne på denne side.
| Museum | By | Værker af Auguste André Lançon | Malerier fra denne liste |
|---|---|---|---|
 Carnavalet Museum |
Paris | 2 | Zouaves Dead in a Trench Scene from the War of 1870, The Poor at the Corner of Rue de la Santé, in 1869 |
Mellem 1869 og 1870, i alt 2 år, malede Auguste André Lançon hvert dateret værk på denne side: her er de, år for år.
Zouaves Dead in a Trench Scene from the War of 1870 (1870)
34 år gammel: Zouaves Dead in a Trench Scene from the War of 1870 er fra 1870, og Auguste André Lançon blev født i 1836.
Vores katalog indeholder 2 værker af Auguste André Lançon, dateret fra 1869 til 1870.
De fleste af dem findes i Carnavalet Museum (Paris). Tabellen ovenfor lister museerne enkeltvis.
Det tidligste på denne side er The Poor at the Corner of Rue de la Santé, in 1869 (1869), det seneste Zouaves Dead in a Trench Scene from the War of 1870 (1870).
Zouaves Dead in a Trench Scene from the War of 1870 og The Poor at the Corner of Rue de la Santé, in 1869 er blandt de 2 værker på denne side, som er i Carnavalet Museum, Paris's samling.
Ja. Hvert maleri på denne side kan bestilles som en håndmalet oliereproduktion i museums kvalitet eller som et kunstprint i den størrelse, du ønsker, direkte fra maleriets egen side.
Auguste André Lançon enters the world on December 16, 1836, in Saint-Claude, Jura. He is born into a working-class household, the son of Pierre Simon Lançon, a carpenter, and Amélie Lacroix. An older brother, Aimé, grows up alongside him in the Jura region. The early years are defined by the quiet rhythms of Saint-Claude before the pull of the arts directs his path away from his father's trade.
The transition from provincial life to formal training begins with a stint as an apprentice in a printing house in Lons-le-Saunier. At seventeen, the technical realities of ink and paper take hold. This practical foundation leads him to the École des beaux-arts de Lyon, where his formal education takes shape. He moves through the curriculum with a focus on the discipline of drawing, eventually making the leap from the regional academies to the center of the French art world.
In 1858, the trajectory shifts toward Paris. He enters the atelier of Picot, seeking to refine his skills within the rigorous traditions of the capital. This period marks the transition from a provincial apprentice to a professional artist navigating the competitive atmosphere of the Parisian studios.
The professional trajectory of the artist shifts abruptly with the outbreak of the Franco-German War in 1870. During this conflict, he serves as a sergeant for a battalion. This period of military service bleeds directly into the political upheaval of the Paris Commune. As a Communard, he becomes deeply embedded in the revolutionary movement, eventually being elected to the Commission fédérale des artistes on April 17, 1871. The fallout of the Commune leads to a six-month imprisonment. It is during this transition that his identity undergoes a formal change; having previously used the name André, he adopts his birth name, Auguste, upon his release.
His art remains tethered to the realities of conflict. He transitions into the role of a military painter, a position that carries him far beyond the streets of Paris. In 1877, he participates in the Balkan War, documenting the theater of war through his lens. His earlier exhibitions at the Paris Salon, which spanned from 1861 to 1870, had already established his presence in the French art scene before the political turbulence redefined his life and subject matter.
Lançon operates across a vast technical spectrum, moving between the tactile weight of sculpture and the precision of graphic arts. His early ambitions lean toward the physical, driven by an admiration for the works of Antoine-Louis Barye. This influence manifests in his work as an animalier sculptor, where he seeks to capture the raw essence of animal forms. He does not limit himself to three dimensions; his practice shifts fluidly between painting, etching, printmaking, lithography, and watercolor.
The medium of oil on canvas provides a space for larger, more dramatic compositions. Yet, much of his visual impact stems from his mastery of printmaking. He utilizes etching and lithography to translate complex scenes into sharp, graphic realities. This technical versatility becomes a tool for documentation. During times of conflict, he turns to the etching needle to record the visceral details of war, producing several works that serve as direct visual witnesses to the combat he personally observed.
The tension of the animal kingdom often dominates his canvas. In 1867, he produced Homme terrassé par un lion, a large-scale oil on canvas that captures a violent struggle. This work is part of a diptych alongside Femme terrassée par un tigre. His interest in predatory subjects extends to his graphic works, including the 1875 etching Lionne assise and various studies of tigers and bears.
War and urban conflict leave a heavy imprint on his printmaking. He documented the chaos of the Franco-Prussian War through several etchings, including Guerre de 1870, l'hiver à Bagneux. His 1871 etching Cave Rue de l'Enfer remains a significant piece from his series regarding the Siege of Paris. These works reflect the immediate, often harsh reality of the conflicts he witnessed firsthand.
His legacy is preserved across several French institutions. Notable holdings include:
Tracing the physical remnants of Lançon’s output requires a journey through several French regional institutions. His etchings and paintings find a home in the Château-Musée in Nemours, where the precision of his graphic work remains preserved. The Musée du Domaine départemental de Sceaux also maintains a collection of his pieces, holding works that reflect his technical range.
The distribution of his art extends into the Jura and surrounding territories. The Beaux-Arts de Dole and the collections in Vendôme both hold pieces from his career. In Nuits-Saint-Georges, the municipal museum preserves his work within its permanent holdings. These locations offer the primary opportunities to observe his hand, from his studies of animals to his more political graphic series.
The final years of Lançon’s life are marked by a settled existence in Paris. He makes his home at 68, rue Vandamme, maintaining his presence in the city's artistic landscape. The physical toll of diabetes eventually becomes the defining struggle of his later days. He is moved to the Necker hospital as his condition progresses.
The end comes on April 13, 1885. He passes away at 151, rue de Sèvres in the 15th arrondissement. His death marks the conclusion of a career that spanned decades of intense graphic and sculptural work. He is laid to rest in the Montparnasse Cemetery in Paris, within the 26th division.