Maignan, Christ Invitation to Afflicted, engraving 1881
"Christ's Invitation to the Afflicted", genuine photogravure after the 1879' painting by Albert Maignan [1845-1908], engraved by Goupil, 1881; printed on heavy stock paper; signed in plate "Albert Maignan, Pinx." and "Gravure Goupil et Cie."
"This pictures was inspired by that sorrow-laden cry of "the Weeping Prophet," "Behold and see, if there be any sorrow like unto my sorrow!" When the human heart is wrung with anguish, it seeks comfort from those who have known affliction, for from such alone can true sympathy proceed....One alone has tasted every sorrow; and that one, the Savior Christ, is not only "touched with the feeling of our infirmity," but has power to minister relief. "Come unto me all ye that labor and are heavy laden, and I will give you rest."
Maignan has portrayed the Redeemer in the spirit of a ruder age, when art was the expression of religious feeling. He has thus placed it in strong contrast with other portions of the picture, in which mastery in the drawing of the human form, a tender feeling for color, and a superb chiaroscuro, are signally displayed. The picture was of the most distinguished contributions to the Salon of 1879. It now appropriately decorates the altar of the Church of Saint-Nicholas-in-the-Fields." [The Masterpieces of French Art].
Albert Pierre Rene Maignan (1845-1908), was a French painter and historical illustrator. Most of his work was devoted to historical subjects, but he also painted portraits. In 1867, his work was accepted by the Paris Salon, where he exhibited regularly throughout his life. In 1869, he entered the studio of Evariste Vital Luminais. He received a gold medal at the Exposition Universelle (1889) and the Legion of Honor in 1895. He participated in the decoration of the Opera-Comique in Paris in 1898. "Christ's Invitation to the Afflicted" was completed in 1879 for the church of Saint-Nicholas-in-the-Fields.
In 1870s-1890s, Goupil & Cie were the leading art dealers in 19th century France, with headquarters in Paris and a network of branches in London, Brussels, The Hague, Berlin and Vienna, as well as in New York and Australia. Instrumental for this expansion was the "Ateliers Photographiques", a plant north of Paris, in Asnieres, which took up its work in 1869. The photogravures created in this plant dominated the world art market of 1880s-1890s.
The creation of the photogravure plate was a complicated process requiring a work by a photographer and experienced master-engraver. First, a copper plate was coated with a light-sensitive gelatin tissue which had been exposed to a film positive, and then etched, resulting in a high-quality intaglio print that can reproduce the detail and continuous tones of a photograph. It is a manual process. Therefore, the quality of the photogravure depends on the masterly execution by the engraver.
In contrary to steel engravings, photogravures were engraved on copper plates and leave a plate impression in the paper. Due to relative softness of copper, the editions of photogravures were limited to a few thousand copies similarly to copper engravings and etchings.
US: Priority (c.2-4 days) -------- $20.50
Canada: 1st Class (c.2-6 weeks) -- $22.50
World: 1st Class (c.2-8 weeks) --- $32.50
Condition Report: Design 7.1/4" x 9.7/8" [184mm x 250mm], the entire plate is 11.1/2" x 14.3/4" [292mm x 380mm]; a little foxing, slightly water stain at blank edge - no smell, very good condition.
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"Christ's Invitation to the Afflicted", genuine photogravure after the 1879' painting by Albert Maignan [1845-1908], engraved by Goupil, 1881; printed on heavy stock paper; signed in plate "Albert Maignan, Pinx." and "Gravure Goupil et Cie."
"This pictures was inspired by that sorrow-laden cry of "the Weeping Prophet," "Behold and see, if there be any sorrow like unto my sorrow!" When the human heart is wrung with anguish, it seeks comfort from those who have known affliction, for from such alone can true sympathy proceed....One alone has tasted every sorrow; and that one, the Savior Christ, is not only "touched with the feeling of our infirmity," but has power to minister relief. "Come unto me all ye that labor and are heavy laden, and I will give you rest."
Maignan has portrayed the Redeemer in the spirit of a ruder age, when art was the expression of religious feeling. He has thus placed it in strong contrast with other portions of the picture, in which mastery in the drawing of the human form, a tender feeling for color, and a superb chiaroscuro, are signally displayed. The picture was of the most distinguished contributions to the Salon of 1879. It now appropriately decorates the altar of the Church of Saint-Nicholas-in-the-Fields." [The Masterpieces of French Art].
Albert Pierre Rene Maignan (1845-1908), was a French painter and historical illustrator. Most of his work was devoted to historical subjects, but he also painted portraits. In 1867, his work was accepted by the Paris Salon, where he exhibited regularly throughout his life. In 1869, he entered the studio of Evariste Vital Luminais. He received a gold medal at the Exposition Universelle (1889) and the Legion of Honor in 1895. He participated in the decoration of the Opera-Comique in Paris in 1898. "Christ's Invitation to the Afflicted" was completed in 1879 for the church of Saint-Nicholas-in-the-Fields.
In 1870s-1890s, Goupil & Cie were the leading art dealers in 19th century France, with headquarters in Paris and a network of branches in London, Brussels, The Hague, Berlin and Vienna, as well as in New York and Australia. Instrumental for this expansion was the "Ateliers Photographiques", a plant north of Paris, in Asnieres, which took up its work in 1869. The photogravures created in this plant dominated the world art market of 1880s-1890s.
The creation of the photogravure plate was a complicated process requiring a work by a photographer and experienced master-engraver. First, a copper plate was coated with a light-sensitive gelatin tissue which had been exposed to a film positive, and then etched, resulting in a high-quality intaglio print that can reproduce the detail and continuous tones of a photograph. It is a manual process. Therefore, the quality of the photogravure depends on the masterly execution by the engraver.
In contrary to steel engravings, photogravures were engraved on copper plates and leave a plate impression in the paper. Due to relative softness of copper, the editions of photogravures were limited to a few thousand copies similarly to copper engravings and etchings.
US: Priority (c.2-4 days) -------- $20.50
Canada: 1st Class (c.2-6 weeks) -- $22.50
World: 1st Class (c.2-8 weeks) --- $32.50
Condition Report: Design 7.1/4" x 9.7/8" [184mm x 250mm], the entire plate is 11.1/2" x 14.3/4" [292mm x 380mm]; a little foxing, slightly water stain at blank edge - no smell, very good condition.
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