Lot 15: PHILIPPE PARROT-LECOMTE

FRENCH, D. 1936
PANORAMA OF LA TERRASSE DE SAINT-GERMAIN-EN-LAYE, NEAR PARIS : A CYCLE OF EIGHT PAINTINGS

measurements
56 1/4 by 83 1/2 in.; 56 1/4 by 74 3/4 in.; 17 1/2 by 70 7/8 in.

alternate measurements
143 by 212 cm; 143 by 190 cm; 44.5 by 180 cm (8 paintings)

one signed Ph Parrot Lecomte (lower right); two monogrammed Ph.P-L (lower right); four monogrammed Ph.P-L (lower left); one titled La Terrasse de Saint-Germain-en-Laye and dated 1900

each: oil on canvas

EXHIBITED

Saint-Germain-en-Laye, Sale des Fêtes, 1936 (the artist's posthumous exhibition)

NOTE

By the turn of the nineteenth century, the word "panorama" came to mean any picture or series of pictures, big or small, that provided an overall view or a survey of its subject. In this tradition, Parrot-Lecomte's series of painted panels depicts a sunny day on the suburban Terrasse de Saint-Germain. From panel to panel, figures are placed along the pathways in various poses and perspectives set against the dramatic back-drop of the winding Seine and state forest beyond, inviting the viewer to shift from one scene to the next, traveling back and forth with the crowds. A perfect gathering spot for leisurely pursuits, the Terrasse was, as Henri Saint-Simon called it, "a unique place for bringing together all the wonders one can see." Since its completion in 1675 under Le Nôtre's direction and Louis XVI's sponsorship, its nearly mile and a half expanse has meandered along the gardens of Francois I's Chateau Vieux and Henri IV's Chateau Neuf. Not until the mid-nineteenth century did "modern" innovations interrupt the bucolic locale, as Parrot-Lecomte shows: trains traveled underneath and nearby the Terrasse's raised ridge, linking Paris to Saint-Germain and points beyond, and clattering carriages soon met the rattle of automobiles.

It is the multi-faceted crowd and their comings-and-goings that give the panorama such unique interest. Unlike a conventional composition, this series of paintings does not provide a distinct visual guide in which to view the relationships between landmarks, people and the landscape. The bottom registers of the panorama are more stable views, set firmly in the sandy, gravel pathways, benches, trees and lampposts, while the upper portions expand the scenes outward, past the Terrasse and over industrial chimney tops and green, verdant vistas. Similarly, some figures are clearly detailed while others are vague: a gentleman's button, tie, and brushy beard are easily discernable, yet the puffed-sleeves, feathered hat, and cinched waist of a bourgeoisie in the background are only a gauzy visual note. This scene of mixed perspectives, of bright floral gardens, shadowy trees, and sun-baked paths, and of smartly dressed, happy people created its own visual excitement. Indeed, by the turn of the century, panoramas had moved from depicting Classical or historical subjects to depictions of modern, social life. Panoramas such as Parrot-Lacomte's and the celebrated le Tout-Paris were intended to satisfy (if only vicariously) the public interest in seeing and being seen. Despite the artistic license taken in the present work (the geography and perspectives are not exactly rendered), viewing this panorama simulated a feeling of "being there," a visceral record of the Terrasse's rhythms.

These daily experiences are what make the work so delightful. By 1900 the Parisians and those living outside the city viewed "leisure time" spent outside of work and home as a necessary component to modern life, and even members of the middle classes valued a day in the park. From the first warm days of spring, parks filled with strollers, horseback riders, bicyclists and automobilists. The growing popularity of the bicycle since the 1880s and the growing fad surrounding the electric automobile stimulated great debate about the value of leisure in society--and, in particular, how to monitor and codify women's proper enjoyment of free time. Perhaps not coincidentally, Parrot-Lecomte's series emphasizes women's leisure in nearly every panel. The first bicycle with two equal-size wheels and a dropped frame was first manufactured in 1887. Skirts often posed a challenge to a vigorous ride, and many women adopted bloomer outfits similar to that of the lady bicyclist in blue seen in the mid-ground of one panel. A particular costume was also necessary for automobile rides, as shown by the two women drivers, whose long coats or "dusters" and ruffled scarves protected against the grit of the roads. Although women were never supposed to ride alone, the open cab of a car and the flash of a bicycle passing by provided new opportunities to show-off and snare the glance of a suitor---an especially effective technique in the park, where ladies would naturally encounter dozens of gentlemen.

To view this panorama is to participate in modern life, to take in the sweeping vistas of one of France's greatest landmarks and its bustling crowds on display. Unfortunately, it is not yet known exactly where Parrot-Lecomte's work may have been installed. Given its size and impressive scope, the panorama would have been placed in a public venue---if not a dedicated viewing kiosk or theater, than certainly a cafe, restaurant or similar leisure parlor. Indeed, in 1900, panoramas of a more complicated and dramatic scale were a feature of the Exposition Universelle, and the debut of a new series never failed to draw paying crowds. Now, over a century later, the awe of the panorama is not lost on the viewer. Despite staggering innovations in visual entertainment, the wonder of artistic skill and delightful detail continues to attract our attention.