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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
 Escalier de cristal - Ecran de cheminée

Peasant’s head

Aimé Jules
Paris, 1838 - Paris, 1902
Study, 1894
40 x 24 x 26 cm

Dalou’s modest origins as the son of an artisan and his left-wing political convictions could explain the sculptor’s early interest in depicting the working class.

Since the 1850s, “Realist” novelists, painters, engravers or photographers had chosen the urban working-class population as a subject for study with the intention of providing a truer image of the world around them.
Between 1888 and 1896, Dalou worked during his spare time without having received any commission on a preliminary version of his Monument to the workers, which was never seen in public. He used some of his studies for the bas-reliefs of the Monument to Alphand (inaugurated in 1899 on the avenue Foch), which represents the earthworks and construction activity in Paris.
The many studies for the Monument to the workers are drawn partly from scenes observed by Dalou and transcribed in the studio from memory or from his sketchbooks. At this stage, neither the faces nor the clothes or agricultural techniques are very precise. Dalou would probably not have emphasised the picturesque or narrative aspects.
Some elements were studied in greater depth. The surprising Head of a peasant, in which every last wrinkle is depicted, was undoubtedly sketched from a model posing in his studio.
These lifelike sketches came to light when they were exhibited in 1905 in the Dalou Gallery of the Petit Palais. Since then, they have been widely reproduced in bronze and are highly sought after by collectors.

Inventory number: 
Inventory number : PPS00257
Acquisition details : Purchased from Georgette Dalou, the artist’s daughter, 1905
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