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Carmen Thyssen Collection
Stanislas Lépine

Le Mariage à St. Etienne du Mont

ca. 1878 - 1880
Oil on panel.
12 x 9 cm
Carmen Thyssen Collection
Inv. no. (
CTB.1974.21
)
Not on display
  • Level 2 Permanent Collection
  • Level 1 Permanent Collection
  • Level 0 Carmen Thyssen Collection and Temporary exhibition rooms
  • Level -1 Temporary exhibition rooms, Conference room and EducaThyssen workshop
Level 2
Permanent Collection
1 2 3 4 5 6 7 8 9 10 11 12 14 13 15 16 17 18 22 19 20 21 23 24 25 26 27 28 29 Recommended start of the visitClassical rooms
1 14th Century. Early Italian Painting 2 15th Century. German and Spanish Painting 3 15th Century. Early Netherlandish Painting 4 15th Century. Italian Painting 5 15th and 16th Centuries. Renaissance Portraiture 6 16th Century. Villahermosa Gallery 7 16th Century. Italian Painting 8 15th and 16th Centuries. German Painting 9 15th and 16th Centuries. German Painting 10 16th Century. Netherlandish Painting 11 Tiziano, Tintoretto, Bassano and  El Greco 12 17th Century. Caravaggio and Baroque Painting 13 17th Century. Italian, French and Spanish Painting 14 17th Century. Italian, French and Spanish Painting 15 17th Century. Italian, French and Spanish Painting 16 18th Century. Italian Painting 17 18th Century. Italian Painting 18 18th Century. Italian Painting 19 Classical rooms 20 Classical rooms 21 Classical rooms 22 18th Century. Italian Painting 23 17th Century. Dutch Painting. Landscape 24 18th Century. French and English Painting 25 17th Century. Dutch Painting. Scenes of Daily Life and Interiors 26 17th Century. Dutch Painting. Landscape 27 17th Century. Dutch Painting. Portrait 28 17th Century. Dutch Painting. Landscape 29 19th Century. European Painting. Goya and Romanticism  
Level 1
Permanent Collection
30 31 32 33 34 35 36 37 38 39 40 41 42 43 44 45 46 47 48 49 50 51 52 53 54 55 56 Postpop rooms Rodin room
30 18th and 19th Centuries. Transatlantic Relations 31 19th Century. American Landscape and Environmental Awareness 32 19th Century. American Landscape and Urban Life 33 Recovering the ligth. Restoration of Waterloo Bridge, by André Derain 34 20th Century. Expressionist Landscapes 35 20th Century. Expressionist Portraits 36 20th Century. The Language of the Body 37 20th Century. Urban unrest 38 20th Century. Flowers 39 20th Century. Pioneers of abstraction 40 20th Century. Popular flavor 41 20th Century. The Cubist Tradition I 42 20th Century. The Cubist Tradition II 43 20th Century. Abstract Utopias 44 20th Century. Dada and Surrealism 45 20th Century. Interwar Realisms 46 20th Century. American Abstraction I 48 20th Century. Post-ward American Art 49 20th Century. Post-ward European Figurative Art 50 20th Century. Informalisms 51 20th Century. Homo Ludens 52 20th Century. Pop Art 53 Postpop rooms 54 Postpop rooms 55 Postpop rooms 56 Postpop rooms Rodin Exhibition room
Level 0
Carmen Thyssen Collection and Temporary exhibition rooms
A B C D E F G H I J Hall Temporary exhibition rooms Access to Permanent Collection Entrance Access to Carmen Thyssen Collection Paseo del Prado Garden
A 17th and 18th Centuries. Old Masters B 19th Century. North American Landscape C 19th Century. French Naturalist Landscape D 19th Century. Impressionism E 19th Century. Monet and North American Impressionism F 19th Century. Gauguin and Postimpressionism G 19th and 20th Centuries. Neo Impressionism and its Wake H 20th Century. Early Avant-gardes I 20th Century. Between the Wars Painting. Cubism, Abstraction and Surrealism J 20th Century. North American Painting and Others • HALL
Level -1
Temporary exhibition rooms, Conference room and EducaThyssen workshop
Temporary exhibition rooms Conference room EducaThyssen Workshop
Although Stanislas Lépine participated with three paintings in the first public display of the Impressionist group, the famous exhibition held in the boulevard des Capucines in April 1874, he was never an Impressionist painter. He did not aim at representing the plein soleil with the bright effects typical of Impressionism; he always remained faithful to a tonal pictorial language, with a subdued range of colours. In his submissions to the official Salon, he was described, from 1866 onward, as a "disciple of Corot", a master he deeply admired, and all the critics perceived in his oeuvre this devotion. Jonkind's influence can also be detected in his views of the Normandy ports and that of Daubigny in his river landscapes.

Lépine's painting shows little development after the 1860s; this, added to his habit of not dating his works, makes it very difficult to arrange his oeuvre in chronological order, although it can be divided into three main groups according to the subjects. In the first place, we have the Caen and Rouen ports and, in general, the Normandy coast. In the second, the landscapes around Paris, particularly of the bank of the Seine and the Marne. The third group comprises urban views of Paris, chiefly of the river, its quais and bridges, but also of the streets of Montmartre, where Lépine lived for many years.

In the catalogue raisonné of the artist's oeuvre, this small panel appears together with two other versions of the same subject (and with the same title) painted around 1878-1880: one is a sketch on panel (24 x 14.5 cm) and the other a larger canvas (56 x 18 cm). The small size of the painting we are analysing here does not mean that is it is insignificant or that is does not reveal the author's talent. As his contemporary critics observed, it is precisely these small sketches that bring to light Lépine's best qualities-spontaneity and a delicate execution-which usually disappear when he enlarges his studies to execute paintings to be submitted to the Salon.

From the subject point of view, Wedding in St. Étienne-du-Mont announces the shift that would take place in Lépine's art in the 1880s. In fact, in those years he painted a series of views of Parisian parks and gardens (Trocadero, Luxembourg, the Tuilleries) where he showed an interest in anecdote, very unusual in him up to then: couples going for a stroll, schoolchildren playing, nannies with young children, etc. This Wedding in St. Étienne-du-Mont also contains an anecdotal, even sentimental, component, although our distance from the scene blurs its details. The architecture determines the composition of picture. With this in mind, Lépine uses in this case a vertical format and a dynamic scheme in the form of an upward arrow (a very unusual choice in his landscapes). The wedding guests are distributed along the church steps, echoing the staggered profile of the facade.

As for the facade itself, Lépine overlooks the details and offers us a synthetic vision of the masses of the three pediments. Its depiction would be halfway between a precedent of classical virtues, such as Corot's Chartres Cathedral (1830) and the dissolution of architecture in the Rouen cathedral series painted by Monet in the 1890s. The church of St. Étienne-du-Mont (whose original construction, from the 13th century, was renovated and enlarged in the 16th century) had been built next to the chapel of the abbey of Sainte Geneviève; when the latter was destroyed in 1807, its facade was left free-standing, showing its present curious asymmetrical layout. Lépine uses this asymmetry, combined with the city's skyline, to frame an area of empty sky where he recreates, with white, blue and pearl grey shades, the soft and suffused Parisian light which always captivated him.

Guillermo Solana

19th Century19th Century - French paintingPaintingOilpanel
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Le Mariage à St. Etienne du Mont. La boda en St. Etienne du Mont, c. 1878-1880
Le Mariage à St. Etienne du Mont
Stanislas Lépine

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Le Mariage à St. Etienne du Mont. La boda en St. Etienne du Mont, c. 1878-1880
Le Mariage à St. Etienne du Mont
Stanislas Lépine

©

Carmen Thyssen Collection

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