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Georges Clairin - Portrait of Sarah Bernhardt
Armand Point - Peacock Casket
Camille Alaphilippe - Woman with Monkey
Aristide  Maillol - Seated female nude with her left hand on her head. Study for The Mediterranean
Louis-Robert Carrier-Belleuse - The Struggle for Life vase
Léon  Lhermitte - Les Halles
Fernand Pelez - The Death of Emperor Commodus
Pierre-Auguste Renoir - Ambroise Vollard in a Red Scarf
Jean Carriès - My Portrait
Emile Gallé - Two-handled vase
Georges-Henri Lemaire - Silence or Immortality
Charles-Alexandre Giron - Woman wearing gloves, also known as The Parisienne
Paul Sérusier - Tricoteuse au bas rose
Pierre-Auguste  Renoir - Portrait of Madame de Bonnières
Berthe Morisot - Jeune fille en décolleté - La fleur aux cheveux
Pierre Bonnard - Conversation à Arcachon
Pierre-Adrien Dalpayrat - Dish : The judgment of Paris
Joseph-Marius Avy  - Bal blanc
Marie Constantine Bashkirtseff - Parisienne, Portrait of Irma
Maurice Denis - Female bathers at Perros-Guirec
Fernand Pelez - La Vachalcade
Alfred Sisley - The Church at Moret (Evening)
Théophile Alexandre Steinlen - Ball on the 14th of July
Edmond  Aman-Jean - Miss Ella Carmichaël
Raoul Larche - Buste d'enfant (portrait présumé de Marcel Lerolle)
Sarah Bernhardt - Dagger : algues
 Baccarat Factory - Vase à décor de cactus
Emile Gallé - Commode, Le Sang d'Arménie
 Bracquemond (Félix), Rousseau (Eugène), Creil and Montereau factory - Round dish. Rousseau dinner service
Félix  Vallotton - Femme au bouquet
Emmanuel Frémiet - Le pélican gastronome
George Desvallières - Portrait de Mademoiselle Yvonne Robiquet
Léonard Agathon - Deux esquisses pour le Jeu de l'Echarpe

Madame Pascal Blanchard at a party

Paris, 1861 – Paris, 1950
Oil on paper marouflaged on canvas
150 x 107 cm

As a scene or portrait, this enigmatic painting by Desvallières caused a stir at the 1903 Salon of the National Fine Art Society. This was a pivotal year for this artist, who had returned from England and played an active part in establishing the Autumn Salon at which Parisians were soon to discover the Fauvist and Cubists.
In the portraits which punctuated his work until 1914, Desvallières set his models in context against an appropriate backdrop. In this way he was able to go beyond the personality and conjure up a milieu and an atmosphere. These portraits are generally of close family or friends such as the wife of his fellow member of the Julian Academy, Pascal Blanchard.
The Petit Palais version was preceded by several studies. Painted in oil on paper, this seems to be the most complete version, although it has retained all the liveliness of a watercolour sketch. The composition focuses tightly on Madame Blanchard, a beautiful Russian-born brunette whose blue eyes punctuate her long profile, described by André Chaumeix as “morbidly graceful and highly-strung”.
A fin de siècle ambiance, “full of perfume and stifled passions” (Gabriel Mourey), emanates from this ball where a pair of dancers embrace ardently, whilst Madame Blanchard is incorporated into the reflections and transparencies of an ivory, pink and gold decor. The influence of Gustave Moreau, with whom the young Devallières completed his training, can be discerned in this elegant and strange work with its background cluttered with objects and precious furniture.

Inventory number: 
Inventory number : PPP02147
Acquisition details : Purchase 1936
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