Aaron Martinet Collection

Richesse et misère ou rien qu'un, 1818. Creator: Louis Maloeuvre
Richesse et misere ou rien qu'un, 1818. (Wealth and Misery or Nothing but One). A thin man stands holding a thread; is he repairing his shirt which hangs on the chair

Woman teases her lover, 1827-1828. Creator: Francis Conscience
Woman teases her lover, 1827-1828. " Jules est-tu drole comme ca!'. (Jules, you're so funny like that!). A young woman puts her lace cap on the head of her loved one

Esquisses Parisiennes, (Parisian Sketches), 1827-1828. Creator: Francis Conscience
Esquisses Parisiennes, (Parisian Sketches), 1827-1828. A reserved man is greeted exuberantly by an excited man. He arrive donc farceur, nous sommes deja au champagne

Provinciaux visitant les curiosites de Paris (Provinicials Visiting the Curiosities of Paris), c. 1805

Les Invisibles en tete-a-tete (Tete-a-Tê
Les Invisibles en tete-a-tete (Tete-a-Tete with Poke Bonnets), c. 1805

Hec est l ami Careme!, Musee Grotesque No. 53, early 19th century
He c est l ami Careme!, Musee Grotesque No. 53, early 19th century

Les Musards de la Rue du Coq (Dawdlers of the Rue du Coq), 1805. Previously attributed to Jean-Baptiste-Francois Bosio

Les alliess appretent apousser les operations du siè
Les alliess appretent a pousser les operations du siege avec plus de vigueur que jamais... from Actualites, published in Le Charivari, February 26, 1855, February 26, 1855

The landscape painters, the first copies nature, the second copies the first, from The artists, published in Le Charivari, May 12, 1865, May 12, 1865

Le Gout du Jour, No. 21: Les Modernes Incroyables, from Caricatures Parisiennes, ca. 1815

Les Visites, Musee Grotesque, No. 21, early 19th century. Creator: Unknown
Les Visites, Musee Grotesque, No. 21, early 19th century

Recontre d Anglais a Paris;Le Supreme Bon-Ton No. 23, ca. 1815
Recontre d Anglais a Paris; Le Supreme Bon-Ton No. 23, ca. 1815

L Amour et les Graces Arrivant de Londres;Le Supreme Bon-Ton No. 24, 1815
L Amour et les Graces Arrivant de Londres; Le Supreme Bon-Ton No. 24, 1815

La Promenade en Bokei;Le Supreme Bon-Ton No. 26, 1816
La Promenade en Bokei; Le Supreme Bon-Ton No. 26, 1816

Le Gout du Jour ou Des Chinois du Boulevard Coblentz, from Caricatures Parisiennes, ca. 1815

Walk-through of an influential critic, from Sketches from the Salon, published in Le Charivari, June 24, 1865, June 24, 1865

Dawdlers of the Rue du Coq or The Martinets printshop, c. 1810. Found in the collection of Musee Carnavalet, Paris

Drawings Prints, Print, Voyageurs, appreciant, de, moins, en, les, Agrements, des
Drawings and Prints, Print, Voyageurs appreciant de moins en moins les... from Les Agrements des Chemins de Fer, published in Le Charivari, December 25, 1856, Les Agrements des Chemins de Fer

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Aaron Martinet was a renowned artist in the early 19th century, known for his captivating and whimsical artworks. His pieces such as "Provinciaux visitant les curiosites de Paris" and "Les Invisibles en tete-a-tete" showcased the charm and allure of Paris through the eyes of provincial visitors. With his work titled "Hec est l ami Careme. " from Musee Grotesque No. 53, Martinet depicted the vibrant atmosphere of carnival season. In his masterpiece "Les Musards de la Rue du Coq, " created in 1805, Martinet captured the essence of leisurely strolls along this bustling street. He skillfully portrayed everyday life with a touch of humor and satire. Martinets' talent extended beyond capturing scenes from daily life; he also delved into historical events like "Les alliess appretent apousser les operations du siège. " This artwork illustrated the preparations made by allies before launching their military operations during an important siege. The artist's fascination with nature is evident in his piece titled "The landscape painters, the first copies nature, the second copies the first. " Through this painting, he emphasized how artists interpret and represent natural landscapes differently. Martinet's artistic range expanded to caricatures as well. In Caricatures Parisiennes' edition called "Le Gout du Jour, " No. 21: Les Modernes Incroyables, " he humorously portrayed fashionable individuals who were considered incredibly modern at that time. Another notable creation by Aaron Martinet was found within Musee Grotesque - "Les Visites, " No. 21 - where he explored grotesque themes prevalent during that era while maintaining an air of mystery surrounding its origins. His works also reflected cultural exchanges between nations like England and France in pieces such as "Recontre d Anglais a Paris; Le Supreme Bon-Ton No.