The Romans in their Decadence
The Romans in their Decadence (French: Les Romains de la décadence, also translated as Romans During the Decadence or Romans in the Decadence of the Empire) is a painting by the French artist
It now belongs to the Musée d'Orsay in Paris.[2] It was etched by Edmond Hédouin (1820–1889).
Painting
Couture's composition depicts the perceived
The painting is noted for its subdued use of color and its depiction of the human body.[3][4]
Reception
The Romans in their Decadence was one of the two most critically successful works to be exhibited at the salon that year, alongside Woman Bitten by a Serpent. Renowned critic Théophile Gautier compared the realism of the painting to styles practiced in Northern Europe at the time rather than Couture's native France,[5] while Edmond Texier praised aspects of the work but ultimately considered the painting's scope insufficient to capture the tragedy and dishonor of the era.[3] Napoleon III considered the painting's message an attack on his regime and brutally condemned the work.[6]
References
- ^ Linda Nochlin, Gustave Courbet: A Study of Style and Society (New York: Garland Publishing, 1976), 129-30.
- ^ “Musée d’Orsay: Thomas Couture Romans during the Decadence.” Accessed March 3, 2020. https://www.musee-orsay.fr/en/collections/works-in-focus/painting/commentaire_id/romans-during-the-decadence-2105.html?cHash=ca15e83794.
- ^ a b Edmond Texier, Tableau de Paris : ouvrage illustré de quinze gents gravures d’après les dessins de Blanchard (Phar.), Cham, Champin, Forest (Eug.), Français, Gavarni, Gérard-Séguin, J. J. Grandville, Lami (Eug.), Pauquet, Renard, Roussel, Valentin, Vernet (Hor.), etc., etc., t. 2, Paris, Paulin et Le Chevalier, 1853
- ^ Bertrand Lançon, Les Romains, Paris, Cavalier bleu, coll. « idées reçues », 2015, 127 p., 18 cm (ISBN 978-2-84670-121-1)
- ^ Théophile Gautier, Salon de 1847, Paris, Collection XIX, 2016
- ^ Jean-Paul Bouillon (dir.), La Critique d’art en France, 1850-1900 : actes du colloque de Clermont-Ferrand, 25, 26 et 27 mai 1987, Paris, CIEREC, 1989