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OIL ON CANVAS SIGNED " A. MORLON" FOR PAUL EMILE ANTONY MORLON ( 1834-1913 ) REPRESENTING THE PORTRAIT OF A MAN END OF THE LAST CENTURY - SOME WEAR ( LACK OF PIGMENT ) CANVAS SLIGHTLY TO BE RETIGHTENED - ORIGINAL CANVAS IN ITS ORIGINAL CONDITION - FRAME SIZE 45 X 42 CM
WIKIPEDIA
Morlon made his Salon debut with lively scenes set on the banks of the Seine or the Marne, and painted rowing enthusiasts, either in Bougival or Asnières, vividly depicting the boater with a song on his lips, or drinking cool under the foliage[2].
Having left this first vision of art to become a marine painter, he won an honorable mention with his painting: le Vœu du mousse, in 1883[2]. Two years later, he scored another success with Sauvés! : the lifeboat enters the harbor in the channel, the boat leaps over the crest of the waves, steered by the sailors bringing in the survivors they have saved; in the distance, the sea boils, sweeping its deadly waves over the quays and jetty[2]. This highly successful work won a third medal[2].
Fascinated by man's struggle against the storm, he exhibited Victimes du devoir (Victims of Duty) at the Salon of 1898 and then at the Exposition Universelle, where the religious side of a sailor's life is poetically rendered[2]. This work was acquired by the City of Paris[2].
At the 1893 Salon, he exhibited Les Malédictions de l'aïeule (The Curses of the Grandmother), in which an old grandmother drags her frightened grandson, and shows her fist to the great man-eater; Lancement du canot de sauvetage (Launching of the Lifeboat) and, in 1887, Christ sauveur (Christ the Savior), which earned him a second medal, a painting acquired by the State for the Musée du Havre[2].
He also painted several genre pictures: Louis XIV and Mlle de La Vallière, Henri de Navarre and La Belle Fosseuse; Marie-Antoinette at Trianon; scenes from Le Misanthrope and Le Médecin malgré lui, etc[2].
He was named vice-president of the Société libre des Artistes français and hors concours in 1887[2].
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