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Irma Martin
Irma Martin, "Ondine" couple lovers

1840s

About the Item

Irma Martin (1814–1876): A Woman Painter in the 19th Century Irma Martin, born Anne Pierrette Marie Martin on September 3, 1814, in Lyon, emerged as a professional painter in a time when women artists faced significant social and institutional barriers. Opportunities for formal art education were limited for women in 19th-century France, and entry into prestigious exhibitions like the Paris Salon was a formidable challenge. Despite this, Martin carved out a notable artistic career, earning a reputation as a skilful painter of historical, religious, and genre scenes. Martin studied painting in Paris under Charles de Steuben, a respected history painter of German origin. De Steuben was associated with the Romantic movement and had close ties to the École des Beaux-Arts. As a pupil in his atelier, Martin would have received a solid academic foundation in drawing, composition, and history painting—a rarity for women of her era. Upon his death, she reportedly took over leadership of his studio, an exceptional achievement that illustrates her professional competence and the respect she earned among her peers. Irma Martin made her debut at the Salon de Paris in 1837—one of the most prestigious art exhibitions in France—where she exhibited Édouard IV chez Elisabeth Gray. The work earned her a medal, a significant recognition at a time when women artists were rarely awarded such honours. Her inclusion in the Salon was a remarkable success for a woman artist, especially in a system dominated by male academicians who often regarded female painters as amateurs. She continued to exhibit at the Salon throughout the 1840s, presenting works that demonstrated her command of historical and biblical themes—genres traditionally reserved for men. Among her most prominent Salon pieces was Les Trois Femmes au Tombeau du Christ (The Three Women at the Tomb of Christ), shown in 1843. This large religious composition tackled one of Christianity’s most poignant episodes, rendered with dramatic pathos and fine attention to facial expression and gesture. The painting was later sold at auction, reflecting sustained interest in her work. In 1864, Martin returned to Lyon and participated in an exhibition organized by the Société des Amis des Arts, presenting a pastel titled La Lecture. Even in her later years, she remained active in the art world and continued to explore various media. She died in Mâcon, France, on May 19, 1876. Irma Martin’s career must be viewed through the lens of her gender. The 19th century was a time when female artists were largely excluded from formal institutions like the Académie des Beaux-Arts and were often denied the rigorous training necessary for success in history painting—the highest and most respected genre. Martin defied this norm by not only receiving serious training but excelling in narrative compositions that demanded technical and intellectual sophistication. That she succeeded in entering the Paris Salon and gaining critical recognition places her among the vanguard of 19th-century women artists, alongside contemporaries like Rosa Bonheur and Léonide Gachet. Martin’s persistence and achievements testify to the broader struggles—and quiet triumphs—of women artists working within the confines of a patriarchal cultural system. Ondine (1842) Our painting of Ondine seems to be another version the painting exhibited at the Salon. One of Irma Martin’s most evocative and intriguing works is Ondine donne à son époux le baiser qui doit le faire mourir (Ondine Gives Her Husband the Kiss That Will Cause His Death), exhibited at the Salon of 1842. The painting draws from the European Romantic fascination with myth, particularly the legend of Ondine, a water spirit or nymph derived from Germanic folklore. In the Ondine legend, the titular character marries a mortal man and is granted a soul through the union. However, this gift comes with a tragic condition: if her husband proves unfaithful, she must kill him with a kiss. The story gained widespread popularity in Romantic literature and art for its exploration of passion, betrayal, and the supernatural. Martin depicted the climactic moment of the fatal kiss: Ondine, ethereal and sorrowful, poised to deliver a kiss that is both an act of love and a death sentence. The setting would likely be aquatic or nocturnal, using cool tones to emphasize the water nymph’s connection to the natural world and her otherworldly presence. Martin’s ability to convey complex emotional states—grief, love, inevitability—is key to the painting’s power. The figure of Ondine has been painted with delicate, almost translucent skin, surrounded by flowing drapery an hair suggestive of waves. Her mortal husband, caught in a moment of vulnerability, would serve as a foil to her divine but tragic power. The painting reflects Romanticism’s broader interest in mythological and supernatural subjects, especially those involving doomed or transcendent love. Female artists often gravitated toward these themes, which allowed for both emotional expression and subtle commentary on the constraints placed on women’s agency and desire. By choosing such a subject, Martin aligned herself with the Romantic movement while also asserting a unique female perspective on a myth centered around feminine power and sacrifice. In Ondine, we see a woman both as a victim of her destiny and as an active agent in shaping it—perhaps a metaphor for Martin herself.
  • Creator:
    Irma Martin (1814 - 1876, French)
  • Creation Year:
    1840s
  • Dimensions:
    Height: 33.47 in (85 cm)Width: 27.17 in (69 cm)
  • Medium:
    Canvas,Oil
  • Movement & Style:
    Romantic
  • Period:
    Mid-19th Century
  • Framing:
    Frame Included
    Framing Options Available
  • Condition:
  • Gallery Location:
    London, GB
  • Reference Number:
    Seller: 151stDibs: LU2841216327182

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