The Duke of Orleans in front of the City Hall of Paris, July 31, 1830 by Eugène Devéria

Very nice oil on canvas representing Louis-Philippe of Orléans (1773-1850) arriving at the city hall after the riots of the Three Glorious. The Duke is represented in a National Guard uniform, mounted on a beautiful iridescent horse. In the background, one can see the cobblestone barricades with men armed with bayonets, and accompanied by their wives. On the ground, one can see the broken blades and headdresses of the guard that has just been defeated during this three-day revolution. On the side, the city hall of Paris, taken by the rioters, is easily recognizable with its lantern displaying the tricolor flag.

Oil on canvas, perfect condition.

Original canvas, stretcher and wooden frame with gilded stucco.

Signed lower right "Devéria 1830"*.

Dimensions :

Frame : height 107 cm ; width 88 cm.

Canvas : height 92 cm ; width 77 cm.

Eugène Devéria, a student of Anne-Louis Girodet, was primarily influenced by his own brother Achille Devéria (1800-1857), also a student of Girodet and a lithographer. He exhibited at the Salon in 1824, at the age of nineteen. Originally from Pau, the birthplace of King Henry IV, he presented The Birth of Henry IV (ill., detail) at the 1827 Salon, a tumultuous work with rich colors that immediately placed him in the Romantic camp and gave him his moment of glory. But his subsequent works were less brilliant: Eugène Devéria obtained commissions—ceiling of the Campana Gallery at the Louvre with Puget presenting Milo of Croton to Louis XIV (1832) and battle scenes for the Historical Museum of Versailles (1838)—but his style quickly faded. The critics, disappointed, became hostile to him: in 1838 the artist fled Paris to carry out a commission for the decoration of the Notre-Dame des Doms cathedral in Avignon, abandoned three years later due to illness. Back in his native town of Pau, he experienced a spiritual crisis and converted to Protestantism, living in austerity. His last compositions, notably views of the Pyrenees and genre or historical scenes (The Death of Jane Seymour, 1847; The Reception of Christopher Columbus, 1861), are also particularly austere, and Devéria showed himself to be better in portraits, such as that of Marie Devéria as an Amazon (1856). Eugène Devéria has benefited in recent years from a reconsideration by art history, marked in particular by the exhibition devoted to him at the Musée des Beaux-Arts in Pau in 2006.