Eugène Carrière

• Illustration — Priam at the Feet of Achilles (1876), oil on canvas, dimensions unknown, Musée des Beaux-Arts de Pau • Illustration — Winding Wool (1887), oil on canvas, 99.5 x 87.6 cm., National Gallery, London • Illustration — Woman from Behind Undressing (c. 1890–95), oil on canvas 46.5 x 38.5 cm., collection unknown • Illustration — The Theater of Belleville (1895), oil on canvas, 220 x 490 cm., Musée Rodin, Paris • Illustration — Virgin at the Foot of the Cross (1897), oil on canvas, Strasbourg Museum of Modern Art • Illustration — Le Réveil, Her Mother's Kiss (1899), oil on canvas, 94 x 120 cm., Pushkin Museum, Moscow • Illustration — The Mothers (1900). oil on canvas, 283.2 x 362.7 cm., Musée du Petit Palais, Paris • Illustration — The Contemplator (1901), oil on canvas, 33.6 x 41 cm., Cleveland Museum of Art, Cleveland, Ohio • Illustration — Landscape in the Orne (c. 1901), oil on prepared paper mounted on canvas, 32.7 x 41.3 cm., Museum of Art, Rhode Island School of Design, Providence Portraits and figures • Illustration — Portrait of a Boy (1886), oil on canvas, cm., Art Institute of Chicago • Illustration — Paul Verlaine (1890), oil on canvas, 149.8x 121.9 cm., Musée du Louvre, Paris • Illustration — Portrait of Paul Gauguin (1891), oil on canvas, Yale University Art Gallery, New Haven • Illustration — Woman Leaning on a Table (1893), oil on canvas, 65 x 54.3 cm., The Hermitage, Saint Petersburg • Illustration — Woman Looking (date unknown), oil on canvas, 81 x 65,3 cm., Museo Nacional de Bellas Artes, Buenos Aires • Illustration — Two Women (c. 1895), oil on canvas, Minneapolis Institute of Art, Minneapolis • Illustration — Girl with Her Hair Down (1900–05), dimensions unknown, Thiel Gallery, Stockholm • Illustration — Arsène Carriere (1899-1900), oil on canvas, 55.56 × 46.36 cm., National Gallery of Art, Washington, D.C. • Illustration — Self-portrait (1887), oil on canvas, 33 x 40cm., Museum of Fine Arts, Ghent Prints and graphics • Illustration — Newborn in a Bonnet (1890), lithograph, 25.5 x 19.2 cm., Cleveland Museum of Art • Illustration — Alphonse Daudet (1893), lithograph, National Gallery of Art, Washington, D.C. • Illustration — Henri Rochefort (1896), lithograph, British Museum, London • Illustration — Paul Verlaine (1896), lithograph, 52 x 40.6 cm., Cleveland Museum of Art • Illustration — Puvis de Chavannes (1897), lithograph, National Gallery of Art, Washington, D.C. • Illustration — Rodin (1897), lithograph, National Gallery of Art, Washington, D.C. • Illustration — Sleep (1897), lithograph, National Gallery of Art, Washington, D.C. • Illustration — Jean Dolent (1898), lithograph, 22.9 x 17 cm., British Museum, London • Illustration — Mlle Marguerite Carrière Singing (1901), litograph, Thiel Gallery, Stockholm • Illustration — Poster: Literary, Artistic, Aocial Aurore (1898), Bibliothèque Nationale de France

• Illustration — Little d'Artagnan 's color pallet of muted browns and reds is typical of Carrière's mid 1880s works. Eugène Carrière, Little d'Artagnan, c. 1880–85, oil on canvas. Clark Art Institute Carrière had great admiration for many of the Old Masters, but in his early work he was mainly influenced by his contemporary Jean-Jacques Henner. He increasingly used a near monochrome brown palette with occasional touches of other colours and a painterly technique somewhat like that of Henner, and by the mid-1880s his work was characterized by a dense, misty brown atmosphere out of which the images emerged. The Sick Child (1885; Paris, Mus. d’Orsay) is an example of the theme of a mother and her child that Carrière often used and that has come to be regarded as typifying his work. Carrière occupies an important place in fin-de-siècle Symbolism, which developed in the visual arts from the mid-1880s. The quality of poetic, dreamlike reverie that pervades his work particularly appealed to Symbolist critics such as Charles Morice and Jean Dolent; the latter described Carrière’s art as reality having the magic of dreams. Carrière also frequented the Café Voltaire and was involved in Symbolist theatre, bringing him into the mainstream of Symbolism. By employing a subdued palette, softening the focus and enveloping his figures in a thick, dark atmosphere, as in Maternity (c. 1889; Philadelphia, PA, Mus. A.), Carrière achieved a rarified sense of space, light and colour. His ethereal images have a quality of pervasive stillness. Carrière’s strong belief in the essential brotherhood of Man led him to consider his family as a microcosm of mankind. Though most of his paintings are of family members or family relationships, his interest in the universal rather than the specific usually resulted in figures without much individuality presented in a formless environment. He also produced a number of portraits, with notable examples being that of the poet Paul Verlaine (1890; Paris, Mus. d’Orsay) and the sculptor Louis-Henri Devillez (1887). Several of his works can be found at the Musée d'Orsay and the Musée Rodin in Paris, the Tate in London and the National Museum of Serbia in Belgrade.