Albert Maignan
Les Voix du Tocsin (The Voices of the Warning Bell), c. 1888
Oil on canvas
Musée de Picardie, Amiens.
The origin of this tableau is rooted in a trip Maignan took to inspect the bell of the Saint-Prix church, described with passionate detail in his journal. The genesis would take time, taking the artist from stages of euphoria to discouragement from 1882 to 1888, the year of its presentation at the Salon. Exhibited the following year at the Paris World Fair, it would be purchased by the French government and transferred for exhibition at the Museum of Picardie in 1892.
The old bell, sounding a warning call, creates the aura that this work is really a type of last judgment produced in a modern guise. The figures floating through time and space suggest angels who are spreading the word that the time has come for concern and alarm.
Les Voix du tocsin, according to the painter, are nourished by the study of the great masters, Raphaël from whom Maignan borrows a figure, but especially Michelangelo, so admired in the Sistine Chapel in the spring of 1883. The hard work then accomplished by Maignan him gives a taste for large compositions and monumental decorations which will occupy the rest of his career. More on this painting
Albert Maignan (1845–1908)
Audovère répudiée/ Audovère repudiated
Oil on canvas
143.5 × 125 cm (56.4 × 49.2 in)
Private collection
Audovera was the first wife or mistress of Chilperic I, king of Neustria, the western part of the Kingdom of the Franks.
They had five children.
Some time before 567, Audovera and Fredegund prepared for the baptism of Childesinda while Chilperic was away. Fredegund learnt that it was forbidden for a mother to receive her own child in her arms following a baptism, due to a canon law forbidding marriage between parents and godparents. Fredegund arranged the events of the baptism such that Audovera unknowingly broke this taboo. On Chilperic's return, Fredegund informed him of what Audovera had done. Chilperic committed Audovera to a convent in a rage. Fredegund later had her murdered in 580 to coincide with the assassination of Clovis and the exile of Basina. More on Audovera
Albert Pierre Rene Maignan
The last moments of Chlodobert/ Derniers moments de Chlodobert, c. 1880
Oil on canvas
100.6 × 135.3
National Gallery of Victoria, Melbourne
This painting depicts the death of Chlodobert, son of the Frankish King Chilperic I (r. 561-584) and Queen Fredegund. Chlodobert’s death occurred in the year 580, when a great outbreak of dysentery tormented the several kingdoms that made up the empire of the Franks.
Chlodobert was placed on a stretcher and carried to the church of Saint Medard in Soissons. They set him down before the Saint’s tomb and made vows for his recovery. He died in the middle of the night. They buried him in the church of the holy martyrs Crispin and Crispian. The whole populace bewailed his death.
The background behind Chlodobert shows the tomb of Saint Medard. Many more deaths would result from the dysentery outbreak of 580, affecting the nobility seemingly just as bad as the commoners. Chilperic and Fredegund would lose a second son to the disease, and the king’s brother, Guntram of Burgundy, also lost his wife, Queen Austrechild, in the same epidemic. More on The last moments of Chlodobert
Albert Maignan (1845–1908)
Start of the Norman fleet for the conquest of England in 1066, c. 1874
Oil on canvas
0.8 × 1.1 m (31.8 × 45.2 in)
frame dimensions Height: 1.2 m (48.4 in); Width: 1.5 m (61.8 in)
Musée d'Orsay
Albert Pierre Rene Maignan
The Departure of Hektor
Oil on canvas
68 x 100.8 cm (26 3/4 x 39 11/16 in.)
Princeton University Art Museum
In Greek mythology and Roman mythology, Hector was a Trojan prince and the greatest warrior for Troy in the Trojan War. He acted as leader of the Trojans and their allies in the defence of Troy, killing countless Greek warriors. He was ultimately killed by Achilles. More on Hektor
Admiral Carlo Zeno
Oil on canvas
Height: 1.72 mWidth: 1.32
Palace of Fine Arts
Carlo Zeno (1334-1418), Venetian Grand Admiral, was the architect of many victories, notably against Genoa in 1380. Imprisoned for corruption, he only returned to Venice at the end of his life, old and blind. He is represented here, with his daughter in front of the Venetian Arsenal, where he feels his victory trophies. More on Carlo Zeno
In 1864, he left his hometown to study law in Paris, earning his diploma in 1866. During his studies he also painted and took art lessons from Jules Achille Noël. He had his début at the Salon in 1867, and continued to exhibit there throughout his life. In 1868, he travelled extensively, painting in Rouen, Córdoba, Seville and at the Suez Canal before its opening. Upon his return, he found a position in the studios of Évariste Vital Luminais.
In 1889, he won a gold medal at the Exposition Universelle and received the Medal of Honor at the Salon in 1892. Three years later, he was named a Knight in the Légion d'honneur.
La Muse verte, allegory of absinthe addiction, was presented at the 1895 Salon. The Salon catalog describes the painting La Muse verte as follows: “ In a slum on the sixth floor, the writer set to work, supported by his favorite drink. But here he is suddenly seized with anguish and, while the green fairy plows his skull with her fingers, his eyes twitch, his hands tighten. He is crazy."
Albert Maignan
Insult to prisoners Episode of the crusade against the Albigenses in 1211, c. 1875
Original Title: L'Insulte aux prisonniers Episode de la croisade contre les Albigeois en 1211
Oil, canvas
Musée de Picardie, Amiens, France
The Albigensian Crusade or the Cathar Crusade (1209–1229 was a 20-year military campaign initiated by Pope Innocent III to eliminate Catharism in Languedoc, in southern France. The Crusade was prosecuted primarily by the French crown and promptly took on a political aspect, resulting in not only a significant reduction in the number of practising Cathars, but also a realignment of the County of Toulouse in Languedoc, bringing it into the sphere of the French crown, and diminishing both Languedoc's distinct regional culture and the influence of the counts of Barcelona. More on The Albigensian Crusade
The Cathars (also known as Cathari from the Greek Katharoi for “pure ones”) were a dualist medieval religious sect of Southern France which flourished in the 12th century CE and challenged the authority of the Catholic Church. They were also known as Albigensians for the town of Albi, which was a strong Cathar center of belief. The Cathars originated from an anti-materialist reform movement within the Bogomil churches of the Balkans calling for what they saw as a return to the Christian message of perfection, poverty and preaching, combined with a rejection of the physical to the point of starvation. The reforms were a reaction against the often perceived scandalous and dissolute lifestyles of the Catholic clergy in southern FranceMore on The Cathars
In 1889, he won a gold medal at the Exposition Universelle and received the Medal of Honor at the Salon in 1892. Three years later, he was named a Knight in the Légion d'honneur.
Albert (Pierre René) Maignan (French, 1845–1908)
The Green Muse, c. 1895
Oil on canvas
175 x 115 cm.
Picardy Museum, Amiens
This interpretation of the canvas is one that everyone is capable of doing, but reading his diary, Maignan's real concerns appear beyond the simple representation of the harm of alcohol. In his diary, he refers to the death of his pupil Émile Charles-Bitte, a talented young painter whom he considered to be his spiritual son, ill from the age of 24 and broke by death at the age of 29. The sadness experienced by Maignan will be for him a source of great difficulties in the execution of the painting. And well beyond what it represents, absinthe addiction, it is a tribute to a dear friend. More on this painting
Most of his work is devoted to history painting, although he also produced many portraits. His Spanish and Orientalist paintings show the influence of Henri Regnault. After 1889, he also drew illustrations and painted decorative murals, including some at the Salon des Lettres at the Hôtel de Ville and the Chamber of Commerce and Industry in Saint-Étienne. Branching out, from 1895 to 1899 he created a series of tapestries for the Salle des Conférences at the Palais du Luxembourg.
He was also part of a group of painters who decorated the foyer at the Opéra-Comique and was one of several who were given commissions to decorate "Le Train Bleu", a famous restaurant in the Gare de Lyon, in 1900 (See above). More on Albert Maignan
Albert (Pierre René) Maignan (French, 1845–1908)
La Muse verte, preparatory drawing, c. 1895Charcoal heightened with white on paper
49.8 x 42.1 cm.
Picardy Museum, Amiens
Most of his work is devoted to history painting, although he also produced many portraits. His Spanish and Orientalist paintings show the influence of Henri Regnault. After 1889, he also drew illustrations and painted decorative murals, including some at the Salon des Lettres at the Hôtel de Ville and the Chamber of Commerce and Industry in Saint-Étienne. Branching out, from 1895 to 1899 he created a series of tapestries for the Salle des Conférences at the Palais du Luxembourg.
Albert Maignan
Les Parques/ The Fates
Watercolor and gouache highlights over pencil
h: 53,50 w: 74,50 cm
Private collection
The Fates are, in Roman religion or Roman mythology , the master deities of human destiny, from birth to death. They are usually portrayed as spinners measuring the lives of people and slicing fate. According to the writer Jacques Lacarrière : "they are the symbol of the evolution of the universe, of the necessary change which governs the rhythm of life and which imposes the existence and the fate of death". More on The Fates
Albert (Pierre René) Maignan (French, 1845–1908)
The mermaid
Oil on Panel
135.2 x 98.7 cm. (53.2 x 38.9 in.
Private collection
Albert Maignan
Le Train Bleu
Fresco
Restaurant Le Train Bleu in the hall of the Paris-Lyon station.
Maignan realized in 1900 two frescoes in restaurant Paris Le Train Bleu located in the lobby of the station of Lyon the XII th arrondissement of Paris . The first , located in the Great Room , is the theater of ' Orange in the presence of actresses Sarah Bernhardt, Rejane , Miss Bartet and Edmond Rostand well as Stéphane Adolphe Dervillé , Chairman of the Board of ' Directors of the Company of way of iron from Paris to Lyon and to the Mediterranean from 1899 to 1925.
Albert Maignan (1845–1908)
Sketch for the Salon des Lettres at the Hôtel de Ville in Paris: La Cigale, circa 1890
Oil on canvas
Height: 31.5 cm (12.4 in); Width: 25 cm (9.8 in)
Museum of Fine Arts of the city of Paris
The second in the Golden Hall , represents : Harvest in Burgundy works that ' he realized under the ' eye watchful of Marius Toudoire , architect in charge of the decoration of the premises . It it is also the models of tapestries of large living room of the Senate to the palace of Luxembourg .
The towns of Beaumont - on - Sarthe and Le Mans he has dedicated a street .
He was also part of a group of painters who decorated the foyer at the Opéra-Comique and was one of several who were given commissions to decorate "Le Train Bleu", a famous restaurant in the Gare de Lyon, in 1900 (See above). More on Albert Maignan
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