Alfred Stevens et Henri Gervex

Centenaire de la Révolution, Exposition Universelle, Gardens of the Tuileries, Paris, 1889 ;
Salon de la Société nationale des Beaux-Arts, Paris, 1891, n°894 ;
Exposition Universelle, Paris, 1900, n°65, 66, 67 ou 68 ;
Exposition Universelle, Saint-Louis, Missouri, United States of America, 1904 ;
Exposition Universelle, Brussels, 1910 ;
Exposition Universelle, Chicago, United States of America, 1915

J. Reinach, Histoire du siècle, 1789 - 1889, peinture de Alfred Stevens et Henri Gervex, Paris, 1889 ;
J. Reinach, Histoire du siècle - 1789 - 1889, peinture de M.M. Stevens et Gervex, Paris, 1890 ;
Germain Bapst, L'histoire des panoramas et des dioramas, Paris, 1891, pp. 27-28 ;
William A. Coles, Alfred Stevens, Michigan, 1977, pp. 149-150, n°42 ;
Exhibition catalogue, Henri Gervex, Bordeaux, 1992, p. 201-205

Some areas are more sketched (wish of the artist : the composition was immense and to be seen for afar ; see p. 211 of the catalogue for a detail), and the preparatory drawing and the squared up lines are visible in some parts of the composition. Under UV light, in the upper right, above the gentleman's arm; on the left by the column and on the back of the military man, a "juice" was used to conceal the areas less detailed or slightly warn. A small repaint appears on the man's head on the lower left, and on his back, his coat ; small repaints are scattered on the surface. Good condition overall.
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Gervex and Stevens imagine a monumental canvas to be exhibited in a special building in the Tuileries Gardens, Paris, during the entire Universal Exhibition of 1889. Gervex will focus on painting the men, while Stevens will rather paint the women. About fifteen people help them with this project.

The panorama represents the century's history in politics, science, arts : from the French Revolution to modern times. Six hundred and forty one figures thus show the country's greatness by presenting its history.

As the State would not conserve the panorama, Gervex and Stevens decide to present it in several international exhibitions. It is finally fragmented in about sixty pieces divided between the participants, proportionally to their participation : the fragments are then signed by Stevens and Gervex.

Four replicas in smaller formats (151 x 320cm) are kept at the Royal Museums of Fine Art, Brussels.

Our fragment represents Barbedienne in profile, painter Charles Chaplin, politician Ménard-Dorian, sculptor Antonin Mercié with an elegant, musician Léo Délibes, politician and railroads promoter Léon Teisserenc, and high functionary Charles Laurent.