Charles Marville: Photographer of Paris

September 29, 2013 – January 5, 2014

West Building Ground Floor

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    Church of Bacharach, Southern End, 1854
    salted paper print from paper negative
    Bibliothèque nationale de France, Paris

    In 1853 and 1854, Marville traveled throughout Germany making landscapes, cityscapes, and architectural studies that were published in an album titled Les Bords du Rhin (The Banks of the Rhine). Marville made this self-portrait in the tumbled-down ruins of the Werner Chapel in Bacharach, a town along the Rhine. These Gothic ruins were a popular subject of travel literature and illustration in the 1830s and 1840s.

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    Self-Portrait at a Window, February 20, 1851
    salted paper print from paper negative
    Musée d’Orsay, Paris
    Image © Réunion des Musées Nationaux / Art Resource, NY

    In this early self-portrait, Marville stands in a flood of light at the window of his studio in the heart of the city. Holding what is presumably one of his photographs, Marville assumes the thoughtful and focused air of a sophisticated connoisseur.

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    The Seine from the Pont du Carrousel, Looking toward Notre Dame, c. 1854
    salted paper print from paper negative mounted on paperboard
    National Gallery of Art, Washington, Patrons' Permanent Fund

    Views of Paris with the bridges of the Seine were very popular in mid-19th-century France, thanks in part to the expanding genre of illustrated travel literature. Marville’s photograph catalogues numerous delightful details, from the sacks on the wharf awaiting transport and the scaffolding on the Louvre at left, to the piles of quarried stone by the Institut de France (a scholarly society) at right. Although panoramic cameras were available at the time, Marville made this photograph by joining two negatives and printing them together as a single seamless image.

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    South Portal, Chartres Cathedral, 1854
    salted paper print from paper negative
    Lent by The Metropolitan Museum of Art, Purchase, Jennifer and Joseph Duke Gift and The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 2000
    Image © The Metropolitan Museum of Art

    The deep shadows framing this doorway at Chartres cathedral create spatial depth and draw the gaze toward a tiny detail: a small lamp hanging in the center of the open doorway. Marville’s keen ability to harness the play of light, especially against three-dimensional surfaces, made him a sought-after photographer of architecture and sculpture. This print was formerly in the collection of the sculptor Adolphe-Victor Geoffroy-Dechaume, who contributed to the restoration of Chartres in the 1850s and who frequently hired Marville to photograph his work.

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    Spire of Notre Dame, Viollet-le-Duc, Architect, 1859–1860
    albumen print from collodion negative
    The AIA/AAF Collection, Prints and Photographs Division, Library of Congress, Washington, DC

    Starting in the 1830s, a heightened awareness of the precarious condition of France’s medieval monuments (many of which had been damaged during the French Revolution) fueled vast restoration projects all across the country. Although Marville worked closely with Viollet-le-Duc, who oversaw renovations to Notre Dame, this view of the cathedral’s spire with the city spread out below was most likely commissioned by the company that manufactured the leadwork and many of the decorative ornaments on the cathedral’s roof.

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    The Roofs of Notre Dame, from the Gallery of Towers, 1859–1860
    albumen print from collodion negative
    The AIA/AAF Collection, Prints and Photographs Division, Library of Congress, Washington, DC

     

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    Sky Study, Paris, 1856–1857
    albumen print from collodion negative
    Lent by The Metropolitan Museum of Art, Gilman Collection, Purchase, Ann Tenenbaum and Thomas H. Lee Gift, 2005
    Image © The Metropolitan Museum of Art

     

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    Sky Study, Paris, 1856–1857
    albumen print from collodion negative
    Lent by The Metropolitan Museum of Art, The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 1987
    Image © The Metropolitan Museum of Art

     

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    Musée Carnavalet, Paris, The Emperor’s Kiosk, Bois de Boulogne, 1858–1860
    albumen print from collodion negative
    Musée Carnavalet / Roger-Viollet
    Image © Musée Carnavalet / Roger-Viollet


     

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    Longchamps Windmill, Bois de Boulogne, 1858–1860
    albumen print from collodion negative
    Musée Carnavalet, Paris
    Image © Musée Carnavalet / Roger-Viollet

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    Passage Saint-Benoît (sixth arrondissement), 1864–1867
    albumen print from collodion negative
    Musée Carnavalet, Paris
    Image © Musée Carnavalet / Roger-Viollet

    The motif of an opening at the back of the picture appears in many compositions, and, like the small streets and alleys themselves, serves to connect the immediate foreground subject with other spaces just at the edge of the camera’s reach.

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    Rue de Constantine (fourth arrondissement), 1866
    albumen print from collodion negative
    Lent by The Metropolitan Museum of Art, The Horace W. Goldsmith Foundation Fund, through Joyce and Robert Menschel, 1986
    Image © The Metropolitan Museum of Art

    This view, looking toward the Palace of Justice, was made shortly before the rue de Constantine was destroyed and replaced with a wider avenue. Just visible in the lower left corner is a poster advertising a new invention, retractable umbrellas “in the American style.”

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    Rue de la Bûcherie (from the cul de sac Saint-Ambroise) (fifth arrondissement), 1866–1868
    albumen print from collodion negative
    National Gallery of Art, Washington, Horace W. Goldsmith Foundation through Robert and Joyce Menschel

    The trickle of shimmering liquid on the paving stones is not what it seems. The streets of Old Paris were notoriously filthy and frequently full of raw sewage, prompting one writer to observe that “a stream of black mire constantly runs through many of the streets . . . . often becoming a rapid torrent. It requires no inconsiderable agility to leap across it, and the driver of the cabriolet delights in plentifully splattering its black and disgusting contents on every unfortunate pedestrian.”

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    Bas-reliefs de l’Hôtel Colbert (fifth arrondissement), 1862 – 1866
    albumen print from collodion negative
    Musée Carnavalet, Paris
    Image © Musée Carnavalet / Roger-Viollet

     

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    Passage de l’Opéra (Galerie de l’Horloge) (ninth arrondissement), c. 1868
    albumen print from collodion negative
    Musée Carnavalet, Paris
    Image © Musée Carnavalet / Roger-Viollet

     

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    Passage de l’Opéra (from the rue Le Peletier) (ninth arrondissement), c. 1868
    albumen print from collodion negative
    Musée Carnavalet, Paris
    Image © Musée Carnavalet / Roger-Viollet

    The Passage de l’Opéra, named for the nearby Opéra Le Peletier, was inaugurated in 1823. The passage was formed by a pair of parallel two-story galleries for shops, cafés, a restaurant, and a nightclub, as well as apartments on the top floor. Marville photographed both galleries (see the previous photograph) and the glass-roofed corridor that connected them—the view pictured here. The Passage de l’Opéra disappeared in 1926 on the completion of boulevard Haussmann.

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    The Bièvre River (fifth arrondissement), c. 1862
    albumen print from collodion negative
    Joy of Giving Something, Inc.

     

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    Banks of the Bièvre River at the Bottom of the rue des Gobelins (fifth arrondissement), c. 1862
    albumen print from collodion negative
    Musée Carnavalet, Paris
    Image © Musée Carnavalet / Roger-Viollet

     

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    Construction of the avenue de l’Opéra: The Butte des Moulins (from the rue Saint-Roch), December 1876
    albumen print from collodion negative
    Musée Carnavalet, Paris
    Image © Charles Marville / Musée Carnavalet / Roger-Viollet

    The Butte des Moulins (literally “windmill hill”) was a small hill—part natural, part built up—that had existed in Paris since ancient times. Dotted with windmills, it was a working-class neighborhood dominated by small trades until the mid-1870s, when its population was cleared and the hill was leveled to construct the avenue de l’Opéra—which would become widely celebrated as the most glamorous street in Paris.

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    Construction of the avenue de l’Opéra, December 1876
    albumen print from collodion negative
    Musée Carnavalet, Paris
    Image © Musée Carnavalet / Roger-Viollet

     

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    Urinal, Jennings System, plateau de l’Ambigu, 1876
    albumen print from collodion negative
    Musée Carnavalet, Paris
    Image © Musée Carnavalet / Roger-Viollet

     

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    Hôtel de la Marine, 1864–1870
    albumen print from collodion negative
    National Gallery of Art, Washington, Diana and Mallory Walker Fund

     

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    Arts et Métiers (Ancien Modèle), 1864
    albumen print from collodion negative
    Lent by The Metropolitan Museum of Art, Purchase, Alfred Stieglitz Society Gifts, 2007
    Image © The Metropolitan Museum of Art

     

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    Boulevard Henri IV (from the rue de Sully) (fourth arrondissement), c. 1877
    albumen print from collodion negative
    Musée Carnavalet, Paris
    Image © Musée Carnavalet / Roger-Viollet

    This desolate space was in the process of being transformed into one of the most magnificent boulevards in Paris, cutting a long vista between the Panthéon and the July Column, a monument commemorating the revolution of 1830. In Marville’s photograph, the column appears as a mirage hovering in the middle distance, separated from the viewer by scarred earth, half-demolished buildings, and a team of complacent horses awaiting their orders.

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    Rue des Saules (18th arrondissement), c. 1877
    albumen print from collodion negative
    Musée Carnavalet, Paris
    Image © Musée Carnavalet / Roger-Viollet

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    Avenue du Commandeur (from the rue d’Alésia) (14th arrondissement), 1877–1878
    albumen print from collodion negative
    Musée Carnavalet, Paris
    Image © Musée Carnavalet / Roger-Viollet

     With their yawning, half-built foregounds, struggling vegetation, and inert figures (such as the one posed against the wall), Marville’s photographs of the periphery of Paris convey the sense of neighborhoods in transition. Even as the city trumpeted its glories at the 1878 Universal Exhibition, the outskirts of Paris became a familiar subject in art and literature, serving as convenient shorthand for the dislocation and exile many Parisians experienced in their changed city.

THIS EXHIBITION IS NO LONGER ON VIEW AT THE NATIONAL GALLERY.

Around 1832 Parisian-born Charles-François Bossu (1813–1879) shed his unfortunate last name (bossu means hunchback in French) and adopted the pseudonym Marville. After achieving moderate success as an illustrator of books and magazines, Marville shifted course in 1850 and took up photography, a medium that had been introduced 11 years earlier. His poetic urban views, detailed architectural studies, and picturesque landscapes quickly garnered praise. Although he made photographs throughout France, Germany, and Italy, it was his native city—especially its monuments, churches, bridges, and gardens—that provided the artist with his greatest and most enduring source of inspiration.
 
By the end of the 1850s, Marville had established a reputation as an accomplished and versatile photographer. From 1862, as official photographer for the city of Paris, he documented aspects of the radical modernization program that had been launched by Emperor Napoleon III and his chief urban planner, Baron Georges-Eugène Haussmann. In this capacity, Marville photographed the city’s oldest quarters, and especially the narrow, winding streets slated for demolition. Even as he recorded the disappearance of Old Paris, Marville turned his camera on the new city that had begun to emerge. Many of his photographs celebrate its glamour and comforts, while other views of the city’s desolate outskirts attest to the unsettling social and physical changes wrought by rapid modernization. Taken as a whole, Marville’s photographs of Paris stand as one of the earliest and most powerful explorations of urban transformation on a grand scale.
 
By the time of his death, Marville had fallen into relative obscurity, with much of his work stored in municipal or state archives. This exhibition, which marks the bicentennial of Marville’s birth, explores the full trajectory of the artist’s photographic career and brings to light the extraordinary beauty and historical significance of his art.

Organization: The exhibition is organized by the National Gallery of Art, Washington, in association with The Metropolitan Museum of Art, New York, and the Museum of Fine Arts, Houston.

Sponsor: The exhibition is made possible through the generous support of Leonard and Elaine Silverstein. Additional support is provided by The Exhibition Circle of the National Gallery of Art.

Passes: Passes are not required for this exhibition.

Other Venues: The Metropolitan Museum of Art, New York, January 27–May 4, 2014
Museum of Fine Arts, Houston, June 13–September 14, 2014

Image: Charles Marville, The Seine from the Pont du Carrousel Looking towards Notre Dame, 1853, salted paper print from paper negative mounted on paperboard, Patrons' Permanent Fund, 1995.36.102