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Mr Gudin's gallery - Expo Paris 1855

Missing picture

France. - Leaving the salon of M. Horace Vernet, we turned right to return to the side gallery we had abandoned after visiting the Dutch exhibition.
We began with the right wall. This wall had been almost entirely reserved for our most illustrious marine painter, M. Gudin.
We will do for Mr. Gudin what we have done for the principal masters, an enumeration of his works as complete as possible.
3231. Explosion of the Emperor's fort, in Algiers, during the campaign of 1830; painted in 1838.
3240 The Aurora Borealis.
3230. the Camp of Staouéli.
3226. Moonrise on the Aberdeen side; scene of smugglers. 3244. A man at sea, a memory of the tropics.
3233. View of Constantinople, taken opposite Pera; painted in 1840.
3229. Distress; painted in 1836.
3221. The Port of the Catalans, Marseilles.
3234. The English schooner te Hasard being boarded by the Courier, in 1804; painted in 1842.
3225. Constantinople; view from the Seven Towers. 3242. Morning in Venice.
3239. View taken from Lord Aberdeen's cottage, north of Scotland.
3222. Fire on the Kent, a vessel of the India Company, during a storm, in the Bay of Biscay; the passengers were saved by the English brig Cambria; painted in 1827.
3237. Admiral Doria embarks to repel the Venetians before Genoa.
3243. Evening in Naples.
3238. A fisherman's boat on the coast of Holland.
3228. Lord Byron as a child on the bridge at Balgouine (Scotland). "The chronicle was thus: Balgouine Bridge "and thy black walls, under a woman's only son" and a mare's only foal, down thou shalt fall." (Don hum.)
We took up the wall on our right.
We quote only a few paintings: Au printemps (3443), by M. Lafage; la Lecture (2995), by M. Dubasty; Enfants conduisant des oies (3568), by M. Adolphe Leleux.
In this gallery we found one of the most remarkable paintings of the exhibition, which was modestly hidden in an obscure corner, but which artists and amateurs soon discovered: it is a Peasant Grafting a Tree (3683), by M. Millet. Next to it was the portrait of Mlle Fix, of the Comédie française (3312), by M. Hofer; then an Interior of a Church in Toledo (2849), by M. Dauzats; the Fileuse d'Auvergne (2447), by M. Antigna; the École buissonnière (3273), by M. Harpignies; Une Jeune femme peignant (3134), by M. E. Frère; Dans les bois (3573), by M. Armand Leleux; le Dimanche des Rameaux (3302), by M. Hillemacher; l'Hiver (3098), le Printemps (3097), by M. Camille Flers; the Voyage de Vert-Vert (3301), by M. Hillemacher, belonging to the Empress; the Bouvier (3782), by M. Pezons; the Vieux pi-queur (3697), by M. de Montpezat; a Portrait of Mlle Herminie Bigé ( 2571 ), painted by herself; the Summer (3099), and the Autumn (3100), by M. C. Fiers; the Reading of the Bible (3252), by M. Guillemin; and finally a large canvas by M. Vinchon, representing the Voluntary Enlistments in 1792 (4190).
The paintings by M. Gudin, which we had left behind, completed our walk through the Exhibition of Painting.
Un Soir d'orage (3241), painted in 1852; Coup de vent dans la rade d'Alger, en 1831 (3223), painted in 1834; Famille naufragée (3224), painted in 1853; Con-stantinople (3225), painted in 1827; le Retour des pêcheurs (3220), painted in 1827, and the ship l'Austerlitz dans la Baltique (3227), painted in 1855, Mr. Gudin's last work, rounded off his exhibition.
In conclusion, we quote a small genre painting by M. Penguilly-l'Haridon: a Gallic Vedette (3764), which was considered one of the most charming productions of this artist.

© Guide dans le Palais de l'Industrie et des Beaux-Arts 1855