One period critic nicknamed Béraud the "Man of the Crowds." True to his reputation, in this scene the artist depicts a flock of congregants bedecked in their Sunday best, decorously emerging from Mass. The church of Saint-Philippe-du-Roule and the surrounding street of rue du Faubourg Saint-Honoré were known to attract Paris’s smart set. When Béraud exhibited this painting at the Salon of 1877, it garnered praise for being "completely Parisian and up-to-date."
This image cannot be enlarged, viewed at full screen, or downloaded.
Open Access
As part of the Met's Open Access policy, you can freely copy, modify and distribute this image, even for commercial purposes.
API
Public domain data for this object can also be accessed using the Met's Open Access API.
This image cannot be enlarged, viewed at full screen, or downloaded.
Artwork Details
Use your arrow keys to navigate the tabs below, and your tab key to choose an item
Title:Sunday at the Church of Saint-Philippe-du-Roule, Paris
Artist:Jean Béraud (French, St. Petersburg 1849–1936 Paris)
Date:1877
Medium:Oil on canvas
Dimensions:23 3/8 x 31 7/8 in. (59.4 x 81 cm)
Classification:Paintings
Credit Line:Gift of Mr. and Mrs. William B. Jaffe, 1955
Object Number:55.35
Inscription: Signed (lower left): Jean Béraud—; inscribed (on shop signs): [illegible]
Edward Matthews, New York (until 1888; sale, Ortgies, New York, February 14, 1888, no. 71, as "Coming from Church," to Avery); ?Samuel P. Avery and Samuel P. Avery Jr., New York (1888–at least 1893); Mr. and Mrs. William B. Jaffe, New York (until 1955)
Paris. Salon. May 1–?, 1877, no. 173 (as "Le dimanche, près de Saint-Philippe-du-Roule").
New York. American Fine Arts Society. "Loan Exhibition," February 13–March 26, 1893, no. 45 (lent by S. P. Avery Jr.) [see Sterling and Salinger 1966].
New York. The Metropolitan Museum of Art. "Van Gogh as Critic and Self-Critic," October 30, 1973–January 6, 1974, no. 15.
New York. The Metropolitan Museum of Art. "The Impressionist Epoch," December 12, 1974–February 10, 1975, not in catalogue.
Roslyn Harbor, N.Y. Nassau County Museum of Art. "La Belle Époque," June 11–September 24, 1995, unnumbered cat.
New York. The Metropolitan Museum of Art. "Impressionism, Fashion, and Modernity," February 26–May 7, 2013, no. 79.
Art Institute of Chicago. "Impressionism, Fashion, and Modernity," June 26–September 29, 2013, no. 79.
[Louis Emile Edmond] Duranty. "Réflexions d'un bourgeois sur le Salon de peinture (1er article)." Gazette des beaux-arts 15 (June 1877), pp. 564, 566–67, ill. (sketch by Béraud).
Frédéric Chevalier. "L'impressionnisme au Salon." L'artiste 2 (July 1877), p. 36.
Mario Proth. Voyage au pays des peintres: Salon de 1877. Paris, 1877, p. 132, calls this painting too photographic.
Charles Tardieu. "Salon de Paris, 1877: Les récompenses." L'art 9 (1877), p. 276.
"Le salon de 1877: La fleur du livret." La France 6 (May 1, 1877), p. 1.
Th[éodore]. Véron. Dictionnaire Véron ou Mémorial de l'art et des artistes de mon temps: Le Salon de 1877. Poitiers, 1877, p. 79.
F[rançois]. Fertiault. Salon de 1877: Causeries d'un flaneur. Paris, 1877, p. 94, relates this picture to Isabey.
Albert Mérat. Le Petit Salon 1877. Paris, 1877, p. 4.
Paul Mantz. "Le Salon." Le temps (June 3, 1877), p. 1, praises this picture, remarking "on n'est pas plus moderne que M. Béraud".
[Jules] Castagnary. "Salon de 1877 (Suite et fin)." Le Siècle (May 9, 1877), p. 2.
J. C. "Une soirée. Tableau de M. Béraud." L'illustration 72 (September 14, 1878), p. 166.
J.-K. Huysmans. "Le Salon de 1879." Le Voltaire (June 10, 1879), p. 1 [reprinted in Huysmans, "Écrits sur l'art: 1867–1905," Paris, 2006, p. 137].
Maurice du Seigneur. L'art et les artistes au Salon de 1880. Paris, 1880, p. 11.
Paul Leroi. "L'Exposition de Lille." L'art 26 (1881), p. 309.
Henry Houssaye. L'Art français depuis dix ans. Paris, 1882, pp. 153, 156, as "La Sortie de Saint-Philippe-du-Roule"; criticizes it for various inaccuracies including the size and color of the street; comments that without more lively colors, this genre of painting has no more artistic value than a sketch from "Illustration".
Eugène Montrosier. Les Artistes modernes. Vol. 4, Peintres divers. Paris, 1884, p. 123.
"Jean Béraud." La Vie artistique (July 24, 1887), p. 355 [see Ref. Offenstadt 1999].
L[éon]. Roger-Milès. "Jean Béraud." La Revue illustrée 16 (September 1, 1893), pp. 193–94, calls it "Le Dimanche près de Saint-Philippe du Roule".
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 2, XIX Century. New York, 1966, p. 216, ill.
J.-P. Crespelle. Les Maîtres de la belle époque. [Paris], 1966, p. 137, as "Le Dimanche à Saint-Philippe-du-Roule".
Charles S. Moffett. Van Gogh as Critic and Self-Critic. Exh. cat., The Metropolitan Museum of Art. New York, 1973, unpaginated, no. 15, dates it about 1877.
J. Kirk T. Varnedoe inGustave Caillebotte: A Retrospective Exhibition. Exh. cat., Museum of Fine Arts, Houston. Houston, 1976, p. 48, fig. 1.
Richard Thomson. Toulouse-Lautrec. London, 1977, p. 8, fig. 3.
Jennifer A. Martin Bienenstock. "Childe Hassam's Early Boston Cityscapes." Arts Magazine 55 (November 1980), p. 171 n. 28, fig. 5.
Patricia Gardner Cleek inThe Preston Morton Collection of American Art. Ed. Katherine Harper Mead. Santa Barbara, 1981, p. 183, fig. 2.
Richard Shiff. Cézanne and the End of Impressionism. Chicago, 1984, pp. 8, 203–4, 298 n. 17, figs. 2 and 44, remarks that this picture does "share one very important quality with other 'impressionist' works: except for the stagelike emptiness of its foreground, it lacks the more obvious compositional devices and seems instead to capture the life of a moment as if without preconception or arrangement".
Richard Shiff inThe New Painting: Impressionism 1874–1886. Ed. Charles S. Moffett. Exh. cat., National Gallery of Art, Washington. San Francisco, 1986, p. 63, fig. 1, dates it 1877.
Patrick Offenstadt. "Le Paris disparu de Jean Béraud." L'Oeil no. 380 (March 1987), p. 35.
Kirk Varnedoe. Gustave Caillebotte. New Haven, 1987, p. 12, fig. 1 [rev. ed. of Varnedoe 1976].
H. Barbara Weinberg, Doreen Bolger, and David Park Curry. American Impressionism and Realism: The Painting of Modern Life, 1885–1915. Exh. cat., The Metropolitan Museum of Art. New York, 1994, pp. 143, 173–74, fig. 161.
Franklin Hill Perrell inLa Belle Époque. Exh. cat., Nassau County Museum of Art. Roslyn Harbor, N. Y., 1995, p. 47, mentions it among paintings depicting the fashion of the House of Worth.
Constance Schwartz inLa Belle Époque. Exh. cat., Nassau County Museum of Art. Roslyn Harbor, N. Y., 1995, pp. 11, 85.
Katharine Baetjer. European Paintings in The Metropolitan Museum of Art by Artists Born Before 1865: A Summary Catalogue. New York, 1995, p. 493, ill.
Patrick Offenstadt. Jean Béraud, 1849–1935, The Belle Époque: A Dream of Times Gone By: Catalogue raisonné. Cologne, 1999, pp. 38, 47, 57, 84–85, 96–97, 360, 363, 365, no. 19, ill. (color), calls it "Saint-Philippe-du-Roule, Sunday" and dates it about 1877.
Nancy Forgione. "Everyday Life in Motion: The Art of Walking in Late-Nineteenth-Century Paris." Art Bulletin 87 (December 2005), pp. 667–68, 676, fig. 3, dates it 1877; observes that Béraud focuses on the external, surface appearance of his figures.
Gloria Groom inImpressionism, Fashion, & Modernity. Ed. Gloria Groom. Exh. cat., Musée d'Orsay, Paris. Chicago, 2012, p. 165, ill. p. 166 (color) [French ed., "L"Impressionnisme et la mode," Paris, p. 46, fig. 4 (color)], as "The Church of Saint-Philippe-du-Roule, Paris" in English-language ed.
Impressionism, Fashion, & Modernity. Ed. Gloria Groom. Exh. cat., Musée d'Orsay, Paris. Chicago, 2012, p. 291, no. 79, ill. (color) [not in French ed.].
Colin B. Bailey. Renoir: Impressionism and Full-Length Painting. Exh. cat., Frick Collection. New York, 2012, pp. 88–89, 105 n. 26, fig. 5 (color).
Marnin Young. Realism in the Age of Impressionism: Painting and the Politics of Time. New Haven, 2015, pp. 79, 229 n. 82, fig. 52 (color).
Gloria Groom and Kelly Keegan inCaillebotte Paintings and Drawings at the Art Institute of Chicago. Ed. Gloria Groom and Genevieve Westerby. Chicago, 2015, para. 6, under no. 2, fig. 2.5 (color) [https://publications.artic.edu/caillebotte/reader/paintingsanddrawings/section/574], contrasts its “descriptive, anecdotal approach” to the abstraction of Gustave Caillebotte’s Paris Street; Rainy Day (1877, Art Institute of Chicago).
Michael Marrinan. Gustave Caillebotte: Painting the Paris of Naturalism, 1872–1887. Los Angeles, 2016, pp. 92–95, 104 n. 28, p. 122, fig. 44, compares it to Caillebotte's "Pont de l'Europe" (1876, Musée du Petit-Palais, Geneva).
The Met's Libraries and Research Centers provide unparalleled resources for research and welcome an international community of students and scholars.
The Met Collection API is where all makers, creators, researchers, and dreamers can connect to the most up-to-date data and public domain images for The Met collection. Open Access data and public domain images are available for unrestricted commercial and noncommercial use without permission or fee.
Feedback
We continue to research and examine historical and cultural context for objects in The Met collection. If you have comments or questions about this object record, please complete and submit this form. The Museum looks forward to receiving your comments.
