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Zouaves Dead in a Trench Scene from the War of 1870
Ranku tapytos aliejaus reprodukcija nuo $181 29 × 34 cm
Pusė kaip originalo $228 46 × 55 cm Užsakyti originalaus dydžio →
Zouaves Dead in a Trench Scene from the War of 1870 (1870) yra garsiausias Auguste André Lançon paveikslas, esantis Carnavalet muziejus kolekcijoje Paris mieste. Iš 2 Auguste André Lançon darbų mūsų kataloge – štai 2 dažniausiai analizuojami kolekcionerių bei lankytojų muziejų, su informacija apie metus, muziejų bei kiekvieno kūrinio istoriją.
Rangos vieta nulegiama pagal mūsų populiarumumo balas, kurį sudaro kiekvieno kūrinio paieškos, apsilankėjimai ir užsakėjimai. Atnaujinta lapkritis 2026. Kiekvieną šio puslapio šedevrą galite užsisakyti kaip muziejoriaus kokybės rankų darbo alievinę reprodukciją arba aukščiausios kokybės meninį spausdiną jūsų pasirinktu dydžiu.
1 muziejai, kuriuose yra daugiausia šioje puslapyje esamų paveikslų.
| Muzejaus | Miestas | Auguste André Lançon darbai | Šiojo sąrašo paveikslai |
|---|---|---|---|
 Carnavalet muziejus |
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 |
Tarp 1869 ir 1870 metų, iš viso per 2 metus, Auguste André Lançon nupiešė visus šios puslapio datuotus darbus: štai jie, metis metams.
Zouaves Dead in a Trench Scene from the War of 1870 (1870)
34 metų amžiaus: Zouaves Dead in a Trench Scene from the War of 1870 sukurta 1870 m. ir Auguste André Lançon gimė 1836.
Mūsų kataloge yra 2 Auguste André Lançon darbų, datuojamų nuo 1869 iki 1870.
Dauguma jų yra Carnavalet muziejus (Paris). Viršuje esančiame lange muziejai išvardyti po vieni.
Pirmasis šioje pusėje yra The Poor at the Corner of Rue de la Santé, in 1869 (1869), paskutinis – Zouaves Dead in a Trench Scene from the War of 1870 (1870).
Zouaves Dead in a Trench Scene from the War of 1870 ir The Poor at the Corner of Rue de la Santé, in 1869 yra vieni iš 2 šioje puslapyje esamų darbų, kuriuos saugo Carnavalet muziejus, Paris.
Taip. Kiekvieną šioje pusėje esantį paveikslą galite užsakyti kaip muziejoriaus kokybės rankų darbų alievinę kopiją arba aukščiausios kokybės spausdinį pasirinktu jūsų pageidaujamu dydžiu tiesiai iš paties paveikslą puslapio.
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.