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Jean-Baptiste-Camille Corot - Marietta, or Roman Odalisque
Jean-Baptiste Carpeaux - Mademoiselle Fiocre
Louis-Ferdinand  Lachassaigne - Vase - Van Dyck painting his first canvas
Charles Durand dit Carolus-Duran - Mademoiselle de Lancey
Jean-Auguste-Dominique Ingres - Francis I Receives the Last Breaths of Leonardo da Vinci
Eugène Delacroix - Combat of the Giaour and the Pasha
Jacob Mardochée known as Jacob Petit - Mameluke clock
Jean-Baptiste Carpeaux - Buste de Samuel Welles de La Valette
Gustave Courbet - Courbet au chien noir
Édouard Manet - Portrait of Théodore Duret
Louis Léopold Boilly - Portrait of Mademoiselle Athénaïs d’Albenas
Paul Gauguin - Old Man with a Stick
Jean-Baptiste Carpeaux - Ugolino
Jan  Van Beers   - Les funérailles de Charles le Bon, Comte de Flandre, célébrées à Bruges dans l’église Saint-Christophe le 22 avril 1127
Gustave Courbet - La sieste pendant la saison des foins (montagne du Doubs)
Alfred de Dreux - Portrait of Mr and Mrs Mosselman and their two daughters
Jean-Désiré Ringel d'Illzach - Portrait of Jeanne et Mrs Albert Dammouse
Octave  Penguilly L’Haridon  - Côtes de Belleville
Gustave Doré - The Vale of Tears
Gustave Doré - L’Ascension
Camille  Pissarro - Le Pont Royal et le Pavillon de Flore
Paul Delaroche - Portrait d'Horace Delaroche
Théobald Chartran - Priam asking Achilles for the return of Hector's body

A Parisian Woman

Paris, 1829 - Paris, 1896
patinated plaster
147 x 55 x 62 cm

In 1876, Chatrousse exhibited his Parisian Woman. This was one of the first sculptural representations on a large scale of a contemporary unknown woman.

Rather than a portrait, the artist has created a type, like Gavarni: a young woman dressed in the latest fashions, holding a bunch of lilac.

Although sculptors under the Third Republic tended to depict working-class subjects (the Petit Palais owns a bread seller plying her trade in the streets of Paris by Jules Coutan) the late 19th century demonstrated a marked enthusiasm for Parisian society ladies. These are often very lively statuettes (by Gauguin, Caro-Delvaille or Dejean for example) echoing contemporary prints and paintings which were largely devoted to this lively, mischievous and elegant figure who was the archetype of femininity.
The genre reached its peak in 1900: Maureau-Vauthier’s monumental Parisian Woman, dressed in a straight skirt, bolero and evening coat, dominated the entrance to the Universal Exhibition on the Place de la Concorde, embodying the city of Paris welcoming visitors.

Donor, testator or seller: 
Gift of the artist, 1896
Inventory number: 
Inventory number : PPS03400
Room 3
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