Where to See Charles Meryon

To view Charles Meryon's prints, several museums hold significant collections. In Paris, the Bibliothèque Nationale and the Musée du Louvre both possess works by the artist. Outside France, several options exist. In the United Kingdom, the British Museum, the Victoria and Albert Museum, and the Fitzwilliam Museum in Cambridge all maintain collections that may include Meryon's pieces. In the United States, the Art Institute of Chicago, the Metropolitan Museum of Art in New York, and the Museum of Fine Arts in Boston are possible locations to view his art. Other museums such as the Los Angeles County Museum of Art and the Minneapolis Institute of Arts may also hold relevant works. Checking the museum's online catalogue or contacting the print and drawings department is recommended to confirm if they have pieces by Meryon on display or available for viewing in their study room.

When assessing Charles Meryon's prints, it is helpful to understand print terminology. A 'vintage print' is made around the time the negative was taken. A 'period print' is one made within roughly 10 to 15 years after. If the printing time is unknown, it is qualified as an 'old print'. A 'modern print' is a recent photograph from the original negative. An 'original print' is definitive and made by the artist or under their supervision. A 'facsimile' is a print made by re-photographing a print, or by using the original negative. Its print base and processing are, to the extent possible, identical to those used for the reference print (generally, a vintage print). Proofing is an important part of the print-making process, enabling the artist to test the feel of a print. It is wise to allow time for reviewing. Cutting the block does not make the finished print; printing does. In reality, cutting is just the beginning.

Charles Meryon (1821^[1]-1868^[1]) is best known for his etchings of Paris. He meticulously depicted the city's architecture, atmosphere, and urban fabric during a period of significant transformation. His prints offer a detailed record of Parisian life in the mid-19th century. Meryon's technical skill as a printmaker is a reason for his continuing appeal. He mastered the etching process, achieving remarkable precision and tonal range. His work influenced later generations of printmakers. Beyond their technical merit, Meryon's prints possess a distinctive artistic vision. He often imbued his cityscapes with a sense of drama and unease. Some scholars suggest that his personal struggles with mental health contributed to the emotional intensity of his images. His psychological perspective separates him from other topographical artists. His images of Paris document a specific time, but they also explore universal themes of urban change, alienation, and the relationship between the individual and the built environment. These themes resonate with contemporary audiences.

Charles Meryon was a 19th-century French^[1] printmaker, known for his detailed etchings of Paris. He adopted etching after his hopes of becoming a naval officer were dashed by deafness and poor eyesight. Meryon's primary technique was etching, a printmaking process using acid to corrode a design into a metal plate. The plate is covered with a wax-like, acid-resistant ground. The artist scratches an image into this ground, exposing the metal. The plate is then immersed in acid, which bites into the exposed lines. The longer the plate remains in the acid, the deeper and wider the lines become. Ink is applied to the etched lines, the surface is wiped clean, and the image is transferred to paper under pressure in a printing press. Meryon favoured old paper for printing, as he preferred its colour and texture. He often reworked his plates, creating multiple states of the same image with variations in detail or shading. He sometimes employed drypoint, directly scratching into the plate with a sharp needle to create a burr, which holds additional ink and produces a soft, velvety line when printed. This is seen in some of his later states.

Charles Meryon's influence can be seen in the work of Félix Bracquemond, who taught etching techniques to Edgar Degas and others. Bracquemond was a versatile artist known for his technical skill. Although he occasionally depicted city life, including scenes from the siege of Paris, his primary interest lay in animal studies. These studies were sometimes comical, such as his *Storm Cloud (La Nuée d’orage)*, which portrays a flock of geese in eleven different states. Bracquemond's etching *The Raven* (1854^[1]) also shows Meryon's influence. Manet, who was a student in Couture’s studio at the time, may have seen it. Echoes of Bracquemond's *Raven* can be found in Manet's work, particularly in the beak of *The Crossing* and the shadow around the gallows. In 1891 Mary Cassatt began printing a set of multiple-plate etchings, combining aquatint with drypoint, a process similar to Bracquemond’s.

Félix Bracquemond, a friend of Édouard Manet, influenced Edgar Degas and others with his etching technique. Bracquemond was a versatile artist, particularly regarding technical skill. Although he occasionally depicted city life scenes, such as the siege of Paris, his artistic focus was on animal studies. One such work is Storm Cloud (La Nuée d’orage), which portrays a flock of geese, in eleven distinct states, under the light of a Crucifixion by Rembrandt. In 1854^[1], Bracquemond created his own version of "The Raven", after Baudelaire's translation of the poem. Manet, who was studying in Couture’s studio at the time, may have been inspired by Bracquemond's piece, as echoes of its compact form appear in Manet's work, specifically in the beak of The Crossing and the shadow at the base of the gallows.

Charles Meryon (1821^[1]-1868^[1]) was active before the Symbolist movement came to prominence in the late 1880s and 1890s. However, some later printmakers such as Mary Cassatt were part of the Symbolist movement, which followed the print revival. Symbolism moved away from representing reality, instead using objects as signs of ideas suggested by the subject. Symbolist painters and writers were interested in creating art that was both subjective and synthetic. Gustave Moreau, who created exotic fantasies, was a key figure in the evolution of Symbolist elements reacting against Impressionism. His influence extended to artists as different as Gauguin and Rouault. The transition from Impressionism involved writers such as Mallarmé, who hosted gatherings that became central to the Symbolist movement, uniting writers and painters.

Charles Meryon (1821^[1]-1868^[1]) is best known for his etchings of Paris. He served in the French^[1] Navy, travelling to places such as the South Pacific. In 1846^[1], he abandoned his naval career and turned to art. Meryon initially wanted to be a painter, but problems with colour-blindness led him to focus on etching. He studied with Eugène Bléry, a specialist in reproducing paintings via etching. Meryon moved away from reproductive work, instead creating original compositions. His best-known works depict the architecture of Paris. He created a series of etchings called *Eaux-fortes sur Paris*. These plates presented detailed views of buildings and streetscapes. He often included dramatic skies and atmospheric effects in his prints. Some of his prints also incorporated elements of social commentary, with symbolic figures and details added to the urban scenes.