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81:, laid out naked on the ground after his murder, against a brown background. His arms are stretched out, his head thrown back and his chest raised. A few drops of blood are spattered on his straggling hair. The pose is one of elegant and classical simplicity and aside from the indication of a wound to the head, the body is perfectly unblemished. In Baraâs hand is a drumstick (according to the paintingâs catalogue entry, a dagger) and the dimly distinguished form of a drum lies behind him on his left.
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contradicted by François Thiébault-Sisson, who related how Henner had been considering Bara as a subject for a long time, and had been sketching plans for it in between other projects he was working on. Indeed in most of these sketches Bara was depicted clothed, but Henner eventually painted him naked, causing many of the public to doubt whether the title of the work was appropriate.
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One critic, commenting on the unusual choice of subject for Henner, speculated that he had merely sketched the figure of a sleeping model a while previously, and then decided later to add the drumstick and give the work artificial gravitas by naming it after the
Republican hero. Jean Meriem agreed,
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Technically, Jean Meriem considered the execution to be faulty, with a poorly-drawn left leg and an apparently dislocated knee. He also felt that while the depiction of the body emphasised the subjectâs youth, it gave no indication of the toughening of the frame that would be associated with war.
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to take advantage of the contemporary interest in the subject. Without so much as a strip of fabric near his supine body, he argued, there is hardly a detail in the painting - except the drum - that gives any kind of appropriate historical setting or justifies the title. This view is however
196:(writing as EFS Pattison) remarked ââBarraâ a work which, by its solidity and the beautiful quality of its flesh painting, recalls the memorable âDead Christâ exhibited by M. Henner, I think, in 1876.â To Henry Houssaye the position of the body recalled that of Abel in
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Ludovic
Baschet was impressed by the way the boyâs flesh is warmed by the amber tones of which Henner had the secret mastery. Henry Houssaye thought that âthere is more grace in the body of this adolescent than in any Venus, more life in this corpse than in any
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Hippolyte
Devillers considered the work a masterpiece, praising the way the dim light picks out the miraculous softness of Baraâs skin, that makes him almost seem still alive and is reminiscent of Hennerâs work exhibited at the previous yearâs Salon,
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The painting remained in Hennerâs possession until his death. When he died childless his estate passed to his niece EugĂ©nie and his nephew Jules. Jules Henner then donated it to the MusĂ©e des Beaux-Arts de la Ville de Paris in 1905.
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The theme of the painting is an unusual one for Henner, who more commonly painted mythological subjects; a subject from near-contemporary France, presented with such direct indication of physical violence, was atypical of him.
183:, more poetry in this young boy than in any sunset.â He considered the painting to be the finest work in the Salon of 1882, deserving a gold medal for masterly execution (the work did not in fact win a medal).
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said that Hennerâs work âgives a feeling of heroism much more profound than the Baras dressed as hussars, little boys dressed as warriors, shown to us, at the Salon, with their sabers and their
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In the early 1880s there was a great revival of interest in Bara, and both poems and sculptures of him were composed. In 1880
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presented a portrait of Bara, and one of the highlights of the 1883 salon the following year was Weertsâ historical painting
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The Gamin de Paris in
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speculating that the work had been completed some time before 1882 and then simply given the title
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on the same subject. The same year as Henner exhibited his painting,
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The painting, oil on canvas, 85.5cm x 144cm depicts the young
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The work has featured in a number of exhibitions, including:
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424:. Rennes: Presses universitaires de Rennes. pp. 79â98.
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fr:La
Justice et la Vengeance divine poursuivant le Crime
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RĂVOLUTION ET CONTRE-RĂVOLUTION EN FRANCE DE 1789 Ă 1989
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La justice et la vengeance divine poursuivant le crime
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Acclamée et brocardée. La peinture française 1820-1880
556:. London: Boussard, Valadon & Company. p. 87
531:. Paris: Librairie des bibliophiles. pp. 96â97
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49:of 1882 and today part of the collection at the
458:. London: Taylor & Francis. p. 97.
288:. Paris: Dicier et Compagnie. pp. 218â9
338:L'Exposition des Beaux Arts (Salon de 1882)
318:. Paris: Launette-Goupil. pp. 209â224.
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341:. Paris: Librairie dâArt. pp. 157â159
57:. It depicts a Republican boy-hero of the
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597:Paintings in the Petit Palais
418:Martin, Jean-Clément (1996).
366:. Paris: Librairie E. Bernard
310:Devillers, Hippolyte (1886).
285:L'art français dequis dix ans
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95:fr: Charles Moreau-Vauthier
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37:(previously often spelled
335:Baschet, Ludovic (1882).
100:fr:La Mort de Joseph Bara
525:Claretie, Jules (1884).
492:. London. pp. 344â5
282:Houssaye, Henry (1882).
452:Brown, Marilyn (2017).
140:Gemeentemuseum Den Haag
489:The Academy volume XXI
486:Pattison, EFS (1882).
360:Ănault, Louis (1882).
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592:Paintings about death
390:Meriem, Jean (1882).
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363:Paris-salon Volume 2
146:Jean-Jacques Henner
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189:the Academy
79:Joseph Bara
73:Description
63:Joseph Bara
576:Categories
231:References
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181:Bacchante
144:1989-90:
124:2017-18:
69:in 1793.
198:Prud'hon
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67:Vendeans
89:History
39:âBarraâ
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252:"Bara"
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220:Barra
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