Jean-Baptiste-Edouard Detaille
The last charge of General Lasalle, killed at Wagram on July 6, 1809, c. 1912
Musée de l'ArméeAntoine-Charles-Louis, Comte de Lasalle (10 May 1775, Metz – 6 July 1809, Wagram) was a French cavalry general during the Revolutionary and Napoleonic Wars, often called "The Hussar General". He first gained fame for his role in the Capitulation of Stettin. Over the course of his short career, he became known as a daring adventurer and was credited with many exploits. Eventually, he fought on every front and was killed at the Battle of Wagram. More on General Lasalle
Detaille, Jean-Baptiste-Édouard
The theater of the Zouaves in Crimea, c. 1886
Graphite, Black ink, Feather, Gouache
Height in m. : 0.134, Width in m. : 0.176
Musée de l'Armée
This drawing represents the 'Theater of the Zouaves', in Crimea, around 1855. During the Crimean War (1854-1856), to overcome the boredom between attacks and battles, the Zouaves had built a theater in their camp, near from the city of Sevastopol, a 'square house with a pediment'. The soldiers interpreted the different roles, male as well as female. Illustrated programs announced the different performances.
In this drawing, the artist shows the moment when, during the performance of a play, all the spectators leave the place, stepping over benches and balustrades. A zouave, standing on benches, sounds the bugle towards the stage. The show appears to be interrupted by an enemy attack. More on this painting
Jean-Baptiste-Edouard Detaille
Bonaparte at the siege of Toulon, 1793, c. 1890 (Around)
Third Republic (1870-1940)
Gouache
Height in m. : 0.735, Width in m. : 0.495
Musée de l'Armée
The Siege of Toulon (29 August – 19 December 1793) was a military engagement that took place during the Federalist revolts of the French Revolutionary Wars. It was undertaken by Republican forces against Royalist rebels supported by Anglo-Spanish forces in the southern French city of Toulon. It was during this siege that young Napoleon Bonaparte first won fame and promotion when his plan, involving the capture of fortifications above the harbor, was credited with forcing the city to capitulate and the Anglo-Spanish fleet to withdraw. The British siege of 1793 marked the first involvement of the Royal Navy with the French Revolution. More on Siege of Toulon
Édouard Detaille (1848–1912)
Le General Jean Joseph Ange d'Hautpoul (1754-1807) a Cheval, c. 1912
Oil on canvas
Private collection
Jean-Joseph Ange d'Hautpoul was a French cavalry general of the Napoleonic wars. He came from an old noble family of France whose military tradition extended for several centuries.
Efforts by the French Revolutionary government to remove him from his command failed when his soldiers refused to give him up. A big, loud-voiced man, he led from the front of his troops. Although the failure of his cavalry to deploy at the Battle of Stockach (1799) resulted in a court martial, he was exonerated and went on to serve in the Swiss campaign in 1799, at the Second Battle of Stockach, the Battle of Biberach, and later at Battle of Hohenlinden. He served under Michel Ney and Joachim Murat. He was killed in Murat's massive cavalry charge of the Battle of Eylau in 1807. More on Jean-Joseph Ange d'Hautpoul
Detaille, Jean-Baptiste-Édouard
The Sentry, c. 1900 (Around)
Oil painting
Height in m. : 1.15, Width in m. : 0.58
Musée de l'Armée
"The Sentry" features the silhouette of Napoleon, rendered almost imperceptible in the background by the similarity in tone between the famous "gray frock coat" of the Emperor and the trunks of undergrowth tree. The hierarchical importance of the characters is reversed by the representation, which, in reverse, emphasizes the importance of the chief whose protection rests on the fidelity, the devotion and the obedience of his men. Behind the grenadier who stands guard at the edge of an undergrowth, we see Napoleon in profile, with his staff. More on this painting
Leif Ragn-Jensen, After Édouard Jean Baptiste Detaille
“Colonel Lepic at Eylau with Grenadiers à Cheval of the Garde Impériale”, c. 1893
Oil on canvas
98×84 cm.
Général de division Louis, Comte Lepic was a French cavalry commander of the French Revolutionary and Napoleonic Wars. He eventually rose to the rank of général de division and held the prestigious command of the Grenadiers à Cheval de la Garde Impériale, the senior heavy cavalry regiment of the Imperial Guard. He was made a baron in 1809 and then became a count in 1815, after which he was known as Comte Lepic. More on Louis Lepic
Detaille, Jean-Baptiste-Édouard
Infantrymen in a sunken lane, fragment of the panorama of the battle of Champigny, c. 1882/83
Oil painting
Height in m. : 2.09, Width in m. : 2.86
Musée de l'Armée
The Battle of Villiers, also called the Battle of Champigny, was the largest of the French sorties from besieged Paris during the Franco–Prussian War.
After news reached Paris of the French defeat at the battle of Le Bourget and the surrender of Metz, morale began to drop in the city. Attempting to counter the grim mood, General Louis Jules Trochu decided to attempt a breakout which could possibly link up with the French Army of the Loire.
On 30 November Auguste-Alexandre Ducrot led 80,000 men towards the villages of Champigny and Bry on the east bank of the Marne River. This section of the German lines was held by the Württemberg Division of the Prussian 3rd Army. On the 29th the Marne had flooded and a French reconnaissance attack turned into a disaster; 1,300 troops were lost. More on battle of Champigny
Produced at the instigation of a Belgian entrepreneur, the panorama of the Battle of Champigny is the fruit of the collaboration between Édouard Detaille and Alphonse de Neuville, assisted by the painters Mathey, Taylor and Bertrand for the landscapes. The canvas, covering an area of 2,025 square meters, was inaugurated in Paris on May 6, 1882 in a rotunda built for this purpose, under the name of “Panorama national”. The painting caused a sensation there, not without raising some controversy: "We are shocked to see our defeats become an object of speculation", writes a journalist from Le Temps. More on this painting
Jean-Baptiste-Édouard Detaille
Champigny; Décembre 1870
Oil on canvas
Private collection
The Panorama de Champigny, painted in collaboration by Detaille and de Neuville, was completed in 1882, twelve years after The Franco-Prussian war, one of the more transformative events in the history of nineteenth century Europe. Beginning on July 19, 1870, the war concluded its first phase in only seven weeks with the capture and surrender of both Emperor Napoleon III and his Imperial Army on September 2nd. France's newly formed government's attempts to negotiate peace were stalled by German demands to cede a portion of French territory in Alsace and Lorraine. Unable to form a treaty, and despite the well-known strength and number of German forces, the new French Republic chose to fight.
By the end of November, a new military operation was planned to break through the German lines south of the city. Morale improved as 55,000 troops left Paris. On the morning of November 30th, an attack on three German-held villages was led by General Auguste-Alexandre Ducrot. Crossing the flooded river Marne, the French reoccupied both Bry and Champigny but could not break through the better fortified positions at Villiers. More on this painting
Jean-Baptiste-Édouard Detaille
Chasseurs de la garde, c. 1883
A Fragment of the Panorama de Rezonville
Oil on canvas
Private collection
The panorama of the battle of Rezonville, painted in collaboration by Édouard Detaille and Alphonse de Neuville, was completed in 1883, thirteen years after one of the most decisive events of the Franco-Prussian war on August 16, 1870. On that day, over a twenty-kilometer front, German soldiers engaged the defending French, with more than 30,000 men ultimately losing their lives in the course of the fighting while villages burned and fields were destroyed. Detaille, who served in the Garde Mobile (France's army reserves during the Franco-Prussian war), witnessed battle first-hand. These memories, re-enforced with photographs, allowed him to paint the majority of the panorama's figures in exacting detail. More on this painting
Jean-Baptiste-Édouard Detaille
Charrette Attelée D'un Cheval Blanc
A FRAGMENT FROM THE PANORAMA OF THE BATTLE OF CHAMPIGNY
Oil on canvas
Private collection
See the the Panorama of the Battle of Champigny.
Detaille, Jean-Baptiste-Édouard
Reception at the Élysée, c. 1884
Watercolor
Height in m. : 0.410, Width in m. : 0.341
After the defeat of 1871, Edouard Detaille participated in the representation of the new army by exhibiting large canvases at the Salon or by contributing to the illustration of the work by Jules Richard, 'Types et Uniforms of the French Army (1883- 1888) ', published between 1885 and 1889, for which this drawing was made.
Under the Third Republic, the prestige of the uniform within a strongly militarized society is reinforced. The military world and the political world are closely associated. The scene represented by the artist shows us the officers of the Military House of the President of the Republic Jules Grévy, waiting in one of the salons of the presidential palace.
In this watercolor, Detaille succeeds in restoring the worldly atmosphere that then reigns in this living room through the effects of lights which echo the brilliance of the uniforms worn by the military, with a sense of detail which characterizes the painter's art. More on this painting
Detaille was born in Paris and grew up in Picardy. His was a prosperous military family; his grandfather had been an arms supplier for Napoleon. An amateur artist who was friends with a number of collectors and painters, including Horace Vernet, Detaille's father encouraged his son's artistic endeavors. He began his artistic studies at age seventeen under the famous military painter Jean-Louis-Ernest Meissonier; he had originally approached him to ask for an introduction to the renowned Alexandre Cabanel but Meissonier decided to teach Detaille himself. Meissonier became a major influence on his style, and it was he who inculcated an appreciation for accuracy and precision in Detaille.
Jean-Baptiste-Édouard Detaille
In the Tavern
Oil on canvas
Private collection
Detaille, Jean-Baptiste-Édouard
Falcon hunt, c. 1902 (Around)
Watercolor
Height in m. : 1.305, Width in m. : 1.11
Musée de l'Armée
Crowned with the glory acquired during the Salon of 1905 during which his sketches for the Pantheon were presented, Édouard Detaille was asked in March 1906 by Georges Dufayel, a wealthy merchant, who entrusted him with the decor of his mansion built in 1905 on the Champs -Elysées by Gustave Rives. The “Falcon Hunt” is one of the panels in a cycle of hunting scenes, jousting and equestrian portraits in the style of the Renaissance and Henry II, then very fashionable in furniture. More on this painting
Detaille, Jean-Baptiste-Édouard
Presentation of the Flags by King Edward VII to the Corps of the New British Army, at Windsor Castle, June 19, 1909, c. 1909
Watercolor
Height in m. : 0.54, Width in m. : 0.738
Musée de l'Armée
In 1907, Edward VII promulgated the Territorial and Reserve Forces Act 1907 which provided in particular for the creation of a territorial force comprising fourteen infantry divisions and fourteen cavalry brigades. These new units were presented their flags by the king in Windsor on June 19, 1909, during a ceremony attended by Detaille.
We can see in the center Edward VII standing under a canopy alongside Queen Alexandra. In the background stands the silhouette of Windsor Castle. The monarch salutes the standards. The framing here is narrower than that of the final work and the angle of view slightly different. The moment the artist chooses is when the flags, after receiving the blessing, are lowered during the national anthem. The painter expresses in this work his talents as a colorist to restore the different uniforms worn by the soldiers. More on this painting
Detaille made his debut as an artist at the Salon—the official art exhibition of the Académie des Beaux-Arts—of 1867 with a painting of Meissonier's studio. At the Salon of 1868, he exhibited his first military painting, The Drummers Halt, which was based solely on his imagination of the French Revolution. With Repose During the Drill, Camp St Maur, which he debuted the following year, Detaille established his reputation as a painter. In the spring of 1870, he went on a "sketching trip" to Algeria with three other young painters, Étienne-Prosper Berne-Bellecour, Alexander Louis Leloir, and Jehan Georges Vibert.
Edouard Detaille, France, 05 Oct 1848 – 23 Dec 1912
Vive l'Empereur!, c. 1891
Charge of the 4th Hussars at the battle of Friedland, 14 June 1807
Oil on canvas
370.0 x 437.5 cm sight; 376.0 x 445.0 cm
Art Gallery of New South Wales
Perhaps the greatest of all French military painters Detaille served in the Franco-Prussian war in 1870 and at first produced grimly realistic battle scenes. He later became fascinated with the history of French military costume, publishing a large illustrated book on the subject. This painting is a retrospective image recapturing the terrifying drama of a charge of 4th Hussar Regiment in the Napoleonic period, almost 100 years earlier. More on this painting
Edouard Detaille
Exit from the Huningue garrison, August 20, 1815, c. Around 1892
Oil on canvas
H. 400.0; L. 386.0 cm.
Musée d'Orsay
After the defeat of Napoleon at the Battle of Waterloo and the advance on Paris by the Coalition armies during the months of June and July 1815, although they besieged and took some towns and fortresses as they advance, they bypassed many of them and detached forces to observe and reduce them. The last of the French fortresses did not capitulate until September of that year.
One notable exception was Huningue and its governor General Barbanègre who commanded a garrison of only 500 men against 25,000 Austrians. On the 28 June shortly after word of Napoleon's abdication became known, and the French Provisional Government had requested a ceasefire, Barbanègre ordered the bombardment of neighboring Swiss Basel something that contemporaries on the Seventh Coalition side considered to be a war crime. At its surrender to the Austrians on 26 August 1815, the city was a ruin and the fortifications were demolished under the terms of Article III of the Treaty of Paris (1815) at the request of Basel. More on the Huningue garrison
Detaille enlisted in the 8th Mobile Bataillon of the French Army when the Franco-Prussian War broke out in 1870; by November he was seeing and experiencing the realities of war. This experience allowed him to produce his famed portraits of soldiers and historically accurate depictions of military manoeuvres, uniforms, and military life in general. He eventually became the official painter of the battles. He published a book called L'Armée Française in 1885, which contains over 300 line drawings and 20 color reproductions of his works.
Detaille was one of the first artists to buy photographs from Eugène Atget.
In 1912, Detaille created new uniforms for the French army. They were never adopted by the Minister of War, but the blue-gray greatcoats would influence later French World War I uniforms, and the Adrian helmet was heavily influenced by his designs.
Edouard Detaille
Test uniforms created in 1912
Musée de l'Armée
Test uniforms created in 1912 by Édouard Detaille for the French line infantry. From left to right: trumpet in parade uniform, private in service uniform and kepi, private 1st class in parade uniform, private in service uniform and leather helmet, officer in parade uniform, officer in service uniform and bonnet de police (side cap), private in field uniform and leather helmet, private in field uniform and kepi.
Jean Baptiste Edouard Detaille
Victory, c. 1905
Oil on canvas
I have no further description, at this time
Edouard Detaille
We raise a wounded, c. Between 1880 and 1882
1870, Franco-Prussian War: Battle of Champigny
Oil on canvas
H. 202.0; L. 150.0 cm.
Musée d'Orsay
Fragment of the left part of the "Panorama of Champigny" painted by Detaille and Alphonse de Neuville from 1880 to 1882, and presented for the inauguration of the rotunda of the Panorama National, 5, rue de Berri, on May 6, 1882. It was subsequently cut by Detaille into sixty-five fragments sold in 1892 and 1896. More on this painting
Jean Baptiste Édouard Detaille, Paris, France, 1848-Paris, France ,1912
Le Salut aux blessés/ German officers pay tribute to wounded French prisoners, c. 1876
Oil on canvas
81 x 131.5 x 2.5 cm
São Paulo Museum of Art
In 1912, Detaille created new uniforms for the French army. They were never adopted by the Minister of War, but the blue-gray greatcoats would influence later French World War I uniforms, and the Adrian helmet was heavily influenced by his designs.
Edouard Detaille
The dream, c. 1888
Oil on canvas
H. 300.0; L. 400.0 cm.
Musée d'Orsay
Detaille specializes, like his friend de Neuville, in this military painting, celebrating the "glorious vanquished" of 1870-1871. The young conscripts in the maneuvers, probably in Champagne, dream of future revenge.
The spectator sees in this large piece of heroic painting the celebration of the army, the "holy ark" of the country. More on this painting
During his life, he had amassed an impressive collection of military uniforms and artifacts. He bequeathed the collection to the Musée de l'Armée in Paris following his death in 1912 in Paris.
Detaille appears as a guest at a party at the home of the Princesse de Guermante in Part Two: Chapter One of Marcel Proust's novel Cities of the Plain, where Detaille is referred to as "the creator of the Dream", his 1888 painting also known as Le Rêve (See above) which shows soldiers asleep on a battlefield dreaming of military glory. The painting, which is in the Musée d'Orsay in Paris, also appears in Paintings in Proust by Eric Karpeles, published by Thames & Hudson. More on Édouard Detaille
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