301:(1 vol. fol.), was given to the world. Gavarni was much engaged, during the last period of his life, in scientific pursuits, and this fact must perhaps be connected with the great change which then took place in his manner as an artist. He sent several communications to the Académie des Sciences, and until his death on 23 November 1866 he was eagerly interested in the question of aerial navigation. It is said that he made experiments on a large scale with a view to find the means of directing balloons; but it seems that he was not so successful in this line as his fellow artist, the caricaturist and photographer,
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85:. Paul began work as a mechanical worker in a machine factory but he saw that to make any progress in his profession, he had to be able to draw; accordingly in his spare time in the evenings, he took classes in drawing. He devoted his special attention to architectural and mechanical drawing and worked at land surveying and mapping which led to his obtaining a position with the Government Ordnance Department as a draughtsman. It wasn't until his early thirties that he turned his attention to his proper vocation as an artist.
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A single frontispiece or vignette was sometimes enough to secure the sale of a new book. Always desiring to enlarge the field of his observations, Gavarni soon abandoned his once favorite topics. He no longer limited himself to such types as the lorette and the
Parisian student, or to the description
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At the time, Gavarni was barely thirty years of age. His sharp and witty drawings gave these generally commonplace and unartistic figures a life-likeness and an expression which soon won him a name in fashionable circles. He gradually gave greater attention to this more congenial work, and ultimately
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Les
Lorettes, Les Actrices, Les Coulisses, Les Fasizionables, Les Gentilshommes bourgeois, Les Artistes, Les Débardeurs, Clichy, Les Étudiants de Paris, Les Baliverneries parisiennes, Les Plaisirs champêtres, Les Bals masqués, Le Carnaval, Les Souvenirs du carnaval, Les Souvenirs du bal Chicard, La
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Gavarni followed his interests, and began a series of lithographed sketches in which he portrayed the most striking characteristics, foibles and vices of the various classes of French society. The letterpress explanations attached to his drawings were short, but were forcible and humorous, if
259:, etc., were composed at this time, and are his most elevated productions. But while showing the same power of irony as his former works, enhanced by a deeper insight into human nature, they generally bear the stamp of a bitter and even sometimes gloomy philosophy.
198:(1840–1843, 9 vols. 8vo), the collection of Physiologies published by Aubert in 38 vols. 18mo (1840–1842), all owed a great part of their success at the time, and are still sought for, on account of the clever and telling sketches contributed by Gavarni.
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sometimes trivial, and were adapted to the particular subjects. At first he confined himself to the study of
Parisian manners, more especially those of the Parisian youth.
182:, and, while making the fortune of the paper, he made his own. His name was exceedingly popular, and his illustrations for books were eagerly sought for by publishers.
703:, an exhibition catalog from The Metropolitan Museum of Art (fully available online as PDF), which contains material on Paul Gavarni (see index)
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At one point
Gavarni was imprisoned for debt in the debtors' prison of Clichy. After his release, he published his experiences in a work called
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of the noisy and popular pleasures of the capital, but turned his mirror to the grotesque sides of family life and of humanity at large.
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Some of his most scathing and most earnest pictures, the fruit of a visit to London, appeared in
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Gavarni visited
England in 1849. On his return his impressions were published in the book
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297:(1 vol. 12 mo), and in 1869, about two years after his death, his last artistic work,
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of
Gavarni's works was published by J. Armehault and E. Bocher, paris in 1873.
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654:. Vol. 11 (11th ed.). Cambridge University Press. p. 538.
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stopped working as an engineer to become the director of the journal
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Portrait of Paul
Gavarni, a year before his death, by his son Pierre
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This article incorporates text from a publication now in the
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Gavarni's father, Sulpice
Chevalier, was from a family line of
709:- Type in Gavarni in the "Artists Name" box and click on "Go"
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was published in 1845, followed in 1850 by two volumes named
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Most of these last compositions appeared in the weekly paper
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A selection of his drawings can be found at the website:
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Prints & People: A Social
History of Printed Pictures
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by Edmond and Jules de
Goncourt was published in 1873. A
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399:, Bureau du Journal des modes parisiennes, Paris
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172:Vie des jeunes hommes, and Les Patois de Paris
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696:(1909) Librairie FĂ©lix Juven, Paris
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604:(1857) Paulin et Lechevalier, Paris
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450:(1853) Marescq et Compagnie, Paris
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286:(1862) by Émile de la Bédollière.
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132:Most of his best work appeared in
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169:Among his illustrated works were
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616:Gavarni: l'homme et l'oeuvre
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63:Sulpice Guillaume Chevalier
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309:Collections and catalogues
237:Les Petits Jeux de société
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245:Les Impressions de ménage
217:Les Fourberies des femmes
42:Self portrait by Gavarni.
507:Physiologie des amoureux
229:Les Nuances du sentiment
651:Encyclopædia Britannica
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149:. He also illustrated
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447:Le Diable Ă Paris
319:Perles et Parures
249:Les Interjections
192:Le Diable Ă Paris
176:Les Gens du monde
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99:Luz-Saint-Sauveur
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