Square in Paris

Provenance

(Boussod Valadon et Cie, Paris); William A. Clark [1839-1925], New York; bequest April 1926 to the Corcoran Gallery of Art, Washington; acquired 2015 by the National Gallery of Art.

Square in Paris

Raffaëlli, Jean François

n.d.

Accession Number

2015.19.44

Medium

oil on canvas

Dimensions

overall: 59.69 × 80.01 cm (23 1/2 × 31 1/2 in.) | framed: 65.41 × 87 × 4.45 cm (25 3/4 × 34 1/4 × 1 3/4 in.)

Classification

Painting

Museum

National Gallery of Art

Washington, D.C., United States

Credit Line

Corcoran Collection (William A. Clark Collection)

Tags

Painting Neoclassical & Romantic (1751–1850) Oil Painting Canvas French

Background & Context

Background Story

Jean-Francois Raffaelli (1850-1924) was a French painter known for his scenes of Parisian life, particularly the marginal figures of the Parisian suburbs, rendered in the naturalistic manner that distinguishes his work from the more decorative Impressionist painting of his contemporaries. Square in Paris depicts a Parisian square in the naturalistic, socially observant manner that distinguishes Raffaelli's best work. The painting shows Raffaelli applying his naturalistic manner to the urban landscape of Paris, creating a type of urban scene that is simultaneously naturalistic and socially observant—a combination that made his work influential for the development of urban Realism.

Cultural Impact

Square in Paris is important in the history of French painting because it demonstrates the naturalistic, socially observant manner that Raffaelli brought to Parisian subjects. Raffaelli's naturalistic treatment of Parisian life—in contrast to the more decorative Impressionist treatment of the same subjects—represents an important alternative to Impressionism in the depiction of modern urban life, and his work was influential for the development of urban Realism.

Why It Matters

Square in Paris is Raffaelli's naturalistic urban observation: a Parisian square rendered in the socially observant, naturalistic manner that distinguishes his work from the more decorative Impressionist treatment of Parisian subjects. The painting represents an important alternative to Impressionism in depicting modern urban life.