Alfred Stevens: Panorama of the Century

Alfred Stevens, “A Portrait of Parisian Celebrities”
from “Panorama of the Century,” 1889

"In the late 1880's, Alfred Stevens embarked on a project that only a man of his energy would undertake in his mid-sixties. The idea came from his friend Henri Gervex, and both Alfred and his brother Arthur put up capital together with others to paint a 'Panorama of the Century' to be exhibited in the Tuileries Gardens during the Exposition Universelle of 1889. The subject was a commemoration of one hundred years of French history from the Revolution of 1789 to the present day, in the form of portraits of all notable figures standing in imaginary, elaborate architectural settings based in the Tuileries where the Rotunda would be erected. 

The idea of a panorama was not new, of course, but the artists wanted to make accurate portraits of the celebrities included, whether live or from research into surviving likenesses in the case of the deceased. It would be nothing less than a pageant of the century.

Gradually the project took shape and a team of assistants was assembled, including Alfred's oldest son, Leopold. As anticipated months of research were needed and much time was spent in libraries. The transfer to the 120-meter long canvas meant that each drawing had to be enlarged to eight times the original. The outline was then pricked through in the time-honored method of the Italian fresco painters. When powder was applied to the holes it duplicated the outline on the canvas. Prominent scenes from each reign had been chosen and the team set to work amidst 'a disorderly array of stuffs, uniforms, helmets, and objects of all kinds, the bric-a-brac of a century.'

When it was completed, the visitor to the circular temporary structure could, upon purchase of a one franc ticket, walk round from Louis XVI to Napoleon III and beyond into the present day of the Third Republic. Many people of the day had tried to get themselves included offering substantial sums for the privilege. The President of France, Sadi Carnot, came and sat for his likeness and the public saw him at the end of the canvas whilst Marie-Antoinette was on the opposite end at the beginning of the hundred years.

Alas, their careful planning did not include what was to happen to the Panorama after the Exposition Universelle was over. The canvas was eventually cut up and dispersed, in one case, as far away as Florida. We do not know if this project was a successful venture or even whether the investors recovered their investments. What we do know is that it was an astonishing achievement by the two friends and their helpers."

To be continued

(Excerpts from "Alfred Stevens" by Paul Mitchell.)