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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

The Good Samaritan

Aimé-Nicolas
Morot
Nancy, 1850 - Dinard, 1913
1880
Oil on canvas
268,5 x 198 cm

Born into a modest, actively Republican family, Aimé Morot pursued an exemplary career after receiving an academic training in the studio of Alexandre Cabanel. Winner of the Prix de Rome in 1873, he used his stay at the Medici Villa as an opportunity to explore the Roman countryside on horseback.
His taste for travel and hunting subsequently took him to Africa and India.

On his return from his period of residency in Rome, the young Morot drew inspiration from the Gospel according to Luke to paint his Good Samaritan. The painting was exhibited in Paris at the Salon des Artistes français, where he was awarded the medal of honour by his peers.

Heavily influenced by Spanish art of the 17th century, Morot treated the parable of the Samaritan helping the wounded man with grave realism. His vigorous style found favour with contemporary critics who paid tribute to the virtuosity of this fine painting. Marie Bashkirtseff wrote enthusiastically in her diary: “This is the painting which has given me the most complete pleasure in my entire life. Nothing jars, everything is simple, true and good”.

Painted initially in a large format, the work was reduced on all four sides by the painter in order to refocus the composition on the two men depicted life-size. An enthusiast of animal subjects, Morot adds a moving dimension to the figure of the donkey labouring under its burden.

Marks Inscriptions Hall-marks: 
Signed and dated bottom left : Aimé Morot 1880
Donor, testator or seller: 
Gift of Otto Klaus Preis , 1995
Inventory number: 
PPP04857
Inventory number : PPP04857
Room 6. Doré and the Christian tradition
The 19th century
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