The Marseillaise (The Departure of the Volunteers of 1792), by François Rude, 1833–36, Arc de Triomphe de l’Etoile, Paris
Photograph
1852 (made)
1852 (made)
| Artist/Maker | |
| Place of origin |
Black and white salted paper print of a sculptural group in front of a stone wall with a geometric patterned border. The group consists of a winged woman in armour floating over and leading a group of men, who are partly in armour or naked.
Object details
| Category | |
| Object type | |
| Title | The Marseillaise (The Departure of the Volunteers of 1792), by François Rude, 1833–36, Arc de Triomphe de l’Etoile, Paris (generic title) |
| Materials and techniques | Salted paper print |
| Brief description | Photograph by Gustave Le Gray, The Marseillaise (The Departure of the Volunteers of 1792), by François Rude, 1833–36, Arc de Triomphe de l’Etoile, Paris". Sculptural Group., 1852 |
| Physical description | Black and white salted paper print of a sculptural group in front of a stone wall with a geometric patterned border. The group consists of a winged woman in armour floating over and leading a group of men, who are partly in armour or naked. |
| Dimensions |
|
| Gallery label | Photography Centre 2018-20:
Collection in Focus: Chauncy Hare Townshend (1798–1868)
Chauncy Hare Townshend was one of the few serious collectors of photography in the early years of its development. Apart from Prince Albert, he remains the only identifiable British private collector of early photographs on such a scale. He was an extremely wealthy art collector and connoisseur who moved in the highest social and literary circles – Charles Dickens even dedicated Great Expectations to him. Townshend bequeathed his large art collection, including paintings, furniture, gemstones, books and coins, as well as his photographs, to the South Kensington Museum (now the V&A) in 1868. His impressive photography collection ranged from images of political, military and contemporary events to a particularly striking group of French fine art photographs. Practising photographers tended to collect photographs, exchanging works as examples of style and process. But Townshend, who was not a photographer, recognised both photography’s documentary value, and even more so, its exciting new artistic capabilities.
7. Gustave Le Gray (1820–84)
The Marseillaise (The Departure of the Volunteers of 1792), by François Rude, 1833–36, Arc de Triomphe de l’Etoile, Paris
1852
Salted paper print
Museum no. 68028 |
| Credit line | Bequeathed by Chauncey Hare Townshend |
| Subject depicted | |
| Places depicted | |
| Collection | |
| Accession number | 68028 |
About this object record
Explore the Collections contains over a million catalogue records, and over half a million images. It is a working database that includes information compiled over the life of the museum. Some of our records may contain offensive and discriminatory language, or reflect outdated ideas, practice and analysis. We are committed to addressing these issues, and to review and update our records accordingly.
You can write to us to suggest improvements to the record.
Suggest feedback
You can write to us to suggest improvements to the record.
Suggest feedback
| Record created | July 1, 2009 |
| Record URL |
Download as: JSONIIIF Manifest
