Franco Prussian

Petit Journal), Lionel Royer is best known as a history painter. Marked by the Franco-Prussian War of

outbreak of the Franco-Prussian war in 1870 the firm briefly had to switch to cannon founding owing to the

Catalogue Raisonne, New York 1991, no.34. Born in Lorient, Brittany and having fought in the Franco

Franco-Prussian War, Roussel moved to England in 1870. He settled in London and shared a studio with

and joined the ranks of the Avant-Garde. Maris' time in the French capital coincided with the Franco

London as a consequence of being branded a communard after the Franco-Prussian War. The subject-matter of

pseudonyms: J. Lievin – after a soldier he met during the Franco-Prussian war, E. Galiany – an Italianized

tribute to the resistance of the city of Belfort during the Franco-Prussian War of 1870, the group

England in 1874 after serving in the Franco-Prussian War, he settled in London permanently following his

alike. One of his notable works is 'La Bataille de Champigny', which portrays a scene from the Franco

and the Franco-Prussian War of 1870-1871. He participated in the panorama of the Battle of Waterloo

of Gustave Courbet. During the Franco-Prussian War of 1870-1871, he sought refuge in Brussels. He

fleeing his native Alsace during the Franco-Prussian War of 1870/71.[3] He first specialized in 18th

he worked under three main pseudonyms: J. Lievin – after a soldier he met during the Franco-Prussian

soldier he met during the Franco-Prussian war, E. Galiany – an Italianized version of his own names, and L

main pseudonyms: J. Lievin – after a soldier he met during the Franco-Prussian war, E. Galiany – an

Franco-Prussian war in 1870, Camille moved to England. With Monet he painted a series of landscapes

career as a war artist during the Franco-Prussian war of 1870-71, producing drawings for ‘The Graphic

Germany in the aftermath of the Franco-Prussian War undoubtedly prompted the artist, established in Paris

France in the Franco-Prussian War (1870-71), giving the statue a new purpose. Different from the original

he met during the Franco-Prussian war, E. Galiany – an Italianized version of his own names, and L

1870, when the Pissarro family fled to London during the Franco-Prussian War. In June 1871, they

worked in glass factories in Saint-Louis, but during the Franco-Prussian War (1870-1871), the family was

, where he soon became passionate and specialized in blown glass. At the end of the Franco-Prussian War

Franco-Prussian War at the end of the 19th century, and he lived and worked in the city through both the

Italy (1869), she returned to Paris, and was present during the Franco-Prussian War and the Paris

England in 1870, when the Pissarro family fled to London during the Franco-Prussian War. In June 1871

the Belleville neighborhood of Paris during the Franco-Prussian War at the end of the 19th century

travelled to Europe to study. Prevented from settling in Paris by the Franco-Prussian War, he instead

Paris, he originally apprenticed as a lace maker but turned to art after the Franco-Prussian War closed

soldier he met during the Franco-Prussian war, E. Galiany – an Italianized version of his own names, and L

Italy (1869), she returned to Paris, and was present during the Franco-Prussian War and the Paris

neighborhood of Paris during the Franco-Prussian War at the end of the 19th century, and he lived and worked in

neighborhood of Paris during the Franco-Prussian War at the end of the 19th century, and he lived and worked in

a poor family in the Belleville neighborhood of Paris during the Franco-Prussian War at the end of

Boétie in Paris after fleeing his native Alsace during the Franco-Prussian War of 1870/71.[3] He first

several years, punctuated by visits to Norway. As the Franco-Prussian War loomed in 1870, Bennetter

operation for a bladder stone, and a year later the Franco-Prussian War destroyed the old imperial army upon

the Franco-Prussian war in 1870 and the shortage of raw metals caused him to have to stop making

French Army when the Franco-Prussian War broke out in 1870; by November he was seeing and experiencing

their home in Louveciennes due to the Franco-Prussian War (when he would return a year later, he would

outbuildings and its majestic garden) in 1870, during the Franco-Prussian War. The burned-out shell stood until

the Franco-Prussian War broke out in 1870; by November he was seeing and experiencing the realities of

the Franco-Prussian War of 1870. In 1874, he lived on Rue de Clignancourt and was recruited by the

to fight in the Franco-Prussian War of 1870. In 1874, he lived on Rue de Clignancourt and was

Paris during the Franco-Prussian War at the end of the 19th century, and he lived and worked in the city

Paris during the Franco-Prussian War at the end of the 19th century, and he lived and worked in the city

Paris during the Franco-Prussian War at the end of the 19th century, and he lived and worked in the city

the dead of the Franco-Prussian War. As prolific as he was popular with the public and with patrons

the Franco-Prussian War broke out in 1870; by November he was seeing and experiencing the realities of

French Army when the Franco-Prussian War broke out in 1870; by November he was seeing and experiencing

Bataillon of the French Army when the Franco-Prussian War broke out in 1870; by November he was seeing and

learned glassmaking at Meisenthal and came to work at his father's factory in Nancy following the Franco

by his voluntary participation in the Franco-Prussian War (1870–1871). After returning to artistic

was divided following the Franco-Prussian War. It is a remarkable artifact of geographic, political

horrors of the Franco-Prussian War, and the brief, radical emergence of the Paris Commune. The sculpture

Meisenthal and came to work at his father's factory in Nancy following the Franco-Prussian War. His early