Paris de Haussmann

Fotografias de Charles Marville e água-fortes de Charles Meryon

 e Seine from the Pont du Carrousel, Looking toward Notre Dame, c. 1854
salted paper print from paper negative mounted on paperboard
National Gallery of Art, Washington, Patrons' Permanent Fund

The Seine from the Pont du Carrousel, Looking toward Notre Dame, c. 1854. National Gallery of Art, Washington, Patrons' Permanent Fund
Charles Marvillle . Rue Champlain, no 20° Arrondissement 1877. The Metropolitan Museum of Art, Nova York
he Butte des Moulins (literally “windmill hill”)
was a small hill—part natural, part built up
—that had existed in Paris since ancient
times. Dotted with windmills, it was a
working-class neighborhood dominated by
small trades until the mid-1870s, when its
population was cleared and the hill was
leveled to construct the avenue de l’Opéra
—which would become widely celebrated
as the most glamorous street in Paris.
Construction of the avenue de l’Opéra: The
Butte des Moulins (from the rue Saint-
Roch), December 1876
albumen print from collodion negative
Musée Carnavalet, Paris
Image © Charles Marville / Musée
Carnavalet / Roger-Viollet
Construction of the avenue de
l’Opéra, December 1876
albumen print from collodion negative
Musée Carnavalet, Paris
Image © Musée Carnavalet / Roger-
Viollet
With their yawning, half-built
foregounds, struggling
vegetation, and inert figures
(such as the one posed against
the wall), Marville’s
photographs of the periphery of
Paris convey the sense of
neighborhoods in transition.
Even as the city trumpeted its
glories at the 1878 Universal
Exhibition, the outskirts of Paris
became a familiar subject in art
and literature, serving as
convenient shorthand for the
dislocation and exile many
Parisians experienced in their
changed city.

Avenue du Commandeur (from

the rue d’Alésia) (14th
arrondissement), 1877–1878
albumen print from collodion
negative
Musée Carnavalet, Paris
Image © Musée Carnavalet /
Roger-Viollet
This desolate space was in the process
of being transformed into one of the most
magnificent boulevards in Paris, cutting a
long vista between the Panthéon and the
July Column, a monument
commemorating the revolution of 1830.
In Marville’s photograph, the column
appears as a mirage hovering in the
middle distance, separated from the
viewer by scarred earth, half-demolished
buildings, and a team of complacent
horses awaiting their orders.

Boulevard Henri IV (from the rue de

Sully) (fourth arrondissement), c. 1877
albumen print from collodion negative
Musée Carnavalet, Paris
Image © Musée Carnavalet / Roger-
Viollet
Charles Marville, Rue St.
Nicolas du Charonnet, a
Medieval street near the
Pantheon, 1850s/ Public
Domain
Charles Marville: Rue Tirechappe, vue
prise de la rue Saint-Honoré, 1860 –
1870
Charles Marville
The Bièvre River (fifth
arrondissement), c. 1862. Joy of
Giving Something, Inc.
Charles Marvillle. Passagem Saint-
Guillaume, em direção à rua
Richelieu, por volta de 1863. The
Metropolitan Museum of Art, Nova
York.
Charles Marville, Rio Bièvre em 1862. Musée Carnavalet
Charles Marville.Rue de la Bûcherie, no 5° Arrondissement, por volta de 1866
Charles Marville. Paris, c.1862 -1865 The Metropolitan Museum of Art, Nova York
Rue des Saules (18th
arrondissement), c. 1877
albumen print from collodion
negative
Musée Carnavalet, Paris
Image © Musée Carnavalet /
Roger-Viollet
Plan du quartier des
Victoires, Paris
Gustave Caillebotte
Paris in a Rainy Day
Óleo sobre tela
212x276cm
Art Institute of Chicago
Gustave Caillebotte
La Rue Halévy
Óleo sobre tela
212x276cm
Coleção privada
Charles Marvillle. Impasse Briare (de la Cité Coquenard),
c. 1865. The Metropolitan Museum of Art, Nova York
Charles Marville. Passage Saint-Benoît (sixth
arrondissement), 1864–1867. Musée
Carnavalet, Paris. Image © Musée
Carnavalet / Roger-Viollet
Charles Marville. Passage de l’Opéra (Galerie de
l’Horloge) (ninth arrondissement), c. 1868. Musée
Carnavalet, Paris. © Musée Carnavalet / Roger-
Viollet
The Passage de l’Opéra, named for the
nearby Opéra Le Peletier, was
inaugurated in 1823. The passage was
formed by a pair of parallel two-story
galleries for shops, cafés, a restaurant,
and a nightclub, as well as apartments
on the top floor. Marville photographed
both galleries (see the previous
photograph) and the glass-roofed
corridor that connected them—the view
pictured here. The Passage de l’Opéra
disappeared in 1926 on the completion
of boulevard Haussmann.

Passage de l’Opéra (from the rue Le

Peletier) (ninth arrondissement), c. 1868
albumen print from collodion negative
Musée Carnavalet, Paris
Image © Musée Carnavalet / Roger-
Viollet
Charles Meryon

Bain-froid Chevrier (Chevrier's
cold bath establishment).

Elevated view over the river

Seine with the Pont Neuf at
left,the statue of Henri IV on the
île de la Cité in centre, bath-
house at right, a flag seen on the
roof; with figures seen walking
across plank bridge above boats
at left. 1864

Etching with light surface tone,

printed in dark brown ink
The Notre-Dame
Pump (La Pompe
Notre-Dame), 1852,
Paris, by Charles
Meryon. Gift of Sir
John Ilott, 1952. Te
Papa (1952-0003-
104)
Engraving of the Les Halles Region
of Paris Before Haussmann's
Changes by Charles Meryon (1821-
1868)
The clock tower, Paris, 1852, France, by Charles
Meryon. Gift of Sir John Ilott, 1952. Te Papa (1952-
0003-108)
Tourelle, rue de la Tixéranderie (House
with a turret, rue de la Tixéranderie,
Paris), 1852, Paris, by Charles Meryon.
Gift of Sir John Ilott, 1962. Te Papa
(1962-0001-19)