Tourelle de la rue de la Tixeranderie

Tourelle de la rue de la Tixeranderie is an original Modern Artwork realized in the half of the 19th Century by Charles Meryon (sometimes Méryon, 23 November 1821 – 14 February 1868).

Original Etching.

Fine impression printed by the artist.

II/III state on V. 

Total dimensions: 24 x 12 cm. Passepartout is included.

Excellent conditions of sheet.

Reference:

• Salimbeni no.163;
• Schneiderman n. 24;
• Delteil n. 29.

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Tourelle de la rue de la Tixeranderie is an original Modern Artwork realized in the half of the XIX Century by Charles Meryon (sometimes Méryon, 23 November 1821 – 14 February 1868). He was a French artist who worked almost entirely in etching, as he suffered from color blindness. Although now little-known in the English-speaking world, he is generally recognized as the most significant etcher of 19th century France. His most famous works by him are a series of views powerfully conveying his distinctive Gothic vision of Paris. He also suffered from mental illness, dying in an asylum. Meryon had sketched in Athens, Algiers and other exotic places he had visited, and by late 1840 decided to take lessons in drawing from the Toulon artist Vincent Courdouan, who was then 30. He had thought of painting in watercolour, but decided he did not have time to learn this at first, but studied using sepia washes. He took full watercolour up in November 1841, when a letter to his father is the first documented mention of his colour-blindness; possibly he had not realized he had the condition before. At this time he seems to have hoped the condition would improve. Courdouan's style made much use of strong contrasts of light and dark tones, which is also characteristic of Meryon's art in the 1850s. Light and shade play wonderfully over the great fabric of the church, seen over the spaces of the river. As a draughtsman of architecture, Méryon was complete; his sympathy with its various styles was broad, and his work on its various styles unbiased and of equal perfection—a point in which it is curious to contrast him with J.M.W. Turner, who, in drawing Gothic architecture, often drew it with want of appreciation. It is evident that architecture must enter largely into any representation of a city, however much such representation may be a vision, and however little a chronicle.