EMILE FRIANT | The political discussion

Coquelin Collection ;
His sale, Galerie Georges Petit, Paris, 27 May 1893, n°31 ;
Purchased at the above by Louis Corbin ;
His sale, Hôtel Drouot, Paris, 19 & 20 October 1936, lot 90 ;
Purchased from the above by the current owner's grandfather

Salon de la société nationale des Beaux-Arts, Paris, 1890, n°375 ;
Salon de la Société lorraine des Arts, Nancy, 1896, n°140 ;
Exposition Universelle, Exposition décennale des Beaux-Arts, Paris, 1900, n°806 (as belonging to Madame Coquelin) ;
Rétrospective des meilleures oeuvres d'artistes lorrains récompensés aux Salons parisiens, Ecole des Beaux-Arts, Nancy, 1909 ;
Les Pompiers, 1ère exposition, Galerie Georges Petit, Paris, 1912, n°29 (as belonging to M. L. Corbin) ;
Salon de la Société des Artistes français, Paris, 1921, n°828 (belonging to Louis Corbin) ;
Émile Friant, regard sur l'homme et l'œuvre, Musée des Beaux-Arts, Nancy, 8 July - 4 October 1988, illustrated in color p.38 n°11 ;
De Charles de Meixmoron à Etienne Cournault. Rétrospective 1892 - 1950, Musée des Beaux-Arts, Nancy, 18 January - 18 April 1993, n°17, ill. 39, p. 48, mentionned p. 138, p. 146 and p. 150  ;
Collecting in the Gilded Age, Art patronage in Pittsburgh 1890-1910, The Frick Art Museum, Pittsburgh, 6 April - 29 June 1997, n° 90 ;
Peinture et Art Nouveau, Musée des Beaux Arts, Nancy, 24 April - 26 July 1999, n°17 ;
Emile Friant un nouveau regard, Musée Georges de la Tour, Vic-sur-Seille, 10 June-3 September 2006, n°94, detail illustrated p.7, and illustrated on the cover and p.64 ;
Emile Friant, le dernier naturaliste ?, Musée des Beaux-Arts, Nancy, 4 November 2016 - 27 February 2017, n°50, illustrated p. 112.

« Gazette des Beaux-Arts », 1st July 1890, illustrated p.73 ;
« Revue de l'Art ancien et moderne », 10 August 1900, illustrated p.73 ;
Maurice Garçot, "Emile Friant", in Revue Lorraine Illustrée, Nancy, Imprimeries Réunies, 1931, mentionned p. 76 ;
Collectif des amis d'Émile Friant, Émile Friant 1863-1932, Les discours sur la tombe d'Émile Friant, printed thanks to a subscription, 1933, mentionned p. 81 ;
Arsène Alexandre, Emile Friant et son oeuvre, Nancy, 1946, described p.19, illustrated pl. VI ;
Philippe Claudel, Au revoir Monsieur Friant, Lavaur, 2001, illustrated p. 9 ;
Henri Claude, Friant, Vaux, 2005, illustrated p.90 and a detail illustrated in full bleed p.91 ;
Exhibition catalogue, A l'épreuve du réel, Les peintres et la photographie au XIXe siècle, Musée Gustave Courbet, Ornans, 30 June - 1st October 2012, fig. 7, illustrated p. 117

Nothing visible to the naked eye, nor under UV light. Perfect condition.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

In 1887, Friant paints Les canotiers de la Meurthe (Musée de l'Ecole de Nancy), famous composition where he shows the "joie de vivre" of a group of young men lunching (see illustration next page). Painted in 1889, The Political discussion, also shows men at a table, but with a completely different atmosphere : the idea came to him as he was sitting by the Meurthe, listening to workers discussing the electoral campaign of 1889, where général Boulanger and Maurice Barrès presented themselves.
The close-up that Friant chose here captures the essence of the scene and focuses our attention on these main characters. Their gestures and physiognomies show the tension of the argument. Every detail is chosen with precision : expressions, attitudes, movements in the hands and arms. The Political Discussion shows the admirable talent of the young artist to represent emotions and human feelings.
Once more, the critics are unanimous : Léopold Mabilleau writes in the Gazette des Beaux-Arts "In the note in which The Political discussion is treated we know him no rival".