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Jean-Baptiste-Camille Corot - Marietta, or Roman Odalisque
Jean-Baptiste Carpeaux - Mademoiselle Fiocre
Louis-Ferdinand  Lachassaigne - Vase - Van Dyck painting his first canvas
Charles Durand dit Carolus-Duran - Mademoiselle de Lancey
Jean-Auguste-Dominique Ingres - Francis I Receives the Last Breaths of Leonardo da Vinci
Eugène Delacroix - Combat of the Giaour and the Pasha
Jacob Mardochée known as Jacob Petit - Mameluke clock
Jean-Baptiste Carpeaux - Buste de Samuel Welles de La Valette
Gustave Courbet - Courbet au chien noir
Édouard Manet - Portrait of Théodore Duret
Louis Léopold Boilly - Portrait of Mademoiselle Athénaïs d’Albenas
Paul Gauguin - Old Man with a Stick
Jean-Baptiste Carpeaux - Ugolino
Jan  Van Beers   - Les funérailles de Charles le Bon, Comte de Flandre, célébrées à Bruges dans l’église Saint-Christophe le 22 avril 1127
Gustave Courbet - La sieste pendant la saison des foins (montagne du Doubs)
Alfred de Dreux - Portrait of Mr and Mrs Mosselman and their two daughters
Jean-Désiré Ringel d'Illzach - Portrait of Jeanne et Mrs Albert Dammouse
Octave  Penguilly L’Haridon  - Côtes de Belleville
Gustave Doré - The Vale of Tears
Gustave Doré - L’Ascension
Camille  Pissarro - Le Pont Royal et le Pavillon de Flore
Paul Delaroche - Portrait d'Horace Delaroche
Théobald Chartran - Priam asking Achilles for the return of Hector's body
 Escalier de cristal - Ecran de cheminée

The first funeral

Louis Ernest
Paris, 1841 - Paris, 1905
220 x 135 x 110 cm

This biblical group shows Adam and Eve carrying their son Abel, the victim of the jealousy of his brother Cain. The plaster won a Medal of Honour at the Salon of 1878, where it was considered as "the highest manifestation of the feeling that sculpture can express".
While the sculpture contains formal references to Michelangelo and Bernin, Barrias nonetheless sets the mourning scene in a fantastical Pre-history evoked by the use of carved flint. Adam has a fierce face with Gallic features, another allusion to the early days of humanity. In contrast, the bodies of Eve and Abel hark back to the antique models revisited by the Renaissance.
The three characters are united in a tiered pyramidal composition, which plays on the relationships between the bodies. With this imaginary recreation of the first irruption of death, Barrias brilliantly synthesizes the neo-classical, romantic and realist styles.

Inventory number: 
Inventory number : PPS00007
Acquisition details : Purchased, commissioned from the artist in 1878
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