How to restore colour to a big black and white image if you only have a small colour version. Something I've been doing for a long time now, but still haven't seen anyone else doing in spite of this tutorial-of-sorts.

Original black and white image here. Colour recombined version here.

I posted this originally way back in 2016, but I've now revised the text a bit and also changed the title to reflect the new name for the process. I really hope this is of use to someone, and if it is please let me know.

NOTE: When using online colorization software to colour a black and white image, a similar technique is applied, the main difference being that when the colorized image is resized to the pixel dimensions of the original the geometry of the two images will match precisely.

Spring (Le Preintemps) 1858. Oil on canvas. French (1825-1905) Ann & Gordon Getty Collection. Legion of Honor

French postcard in the 'Nos artistes dans leur loge' series, no. 184. Photo: Comoedia, Paris.

Jules-Adolphe Simon aka Marcel Simon, born in Brussels in 1872 and died in Paris in 1958, was a Belgian actor and director. As a friend of George Feydeau, he contributed to the creation of many of his plays, such as 'Monsieur chasse !' (1892), 'La Dame de chez Maxim' (1899), 'La Puce à l'oreille' (1907), and 'Occupe-toi d'Amélie' (1908). From 1908 he acted in film, first in comedies (with Rigadin) and dramas directed by Georges Monca, then at Éclair in dramas directed by Maurice Tourneur such as the murder mystery Le Mystère de la chambre jaune (1913) and its sequel Le Parfum de la dame en noir (1914), but also in Feydeau adaptations such as Occupe-toi d'Amélie (1912). While absent from the screen in the 1920s, with the arrival of sound cinema Simon had a very prolific screen career in the 1930s, playing major supporting parts as aristocrats, directors, and high-ranked military. Among his last films was Boule de suif (Christian-Jaque, 1950). Simon was also film director between 1913 and 1921, mostly of comedies such as the Feydeau adaptation La Puce à l'oreille (1914) and a few with the character Germain. Simon was married to actress Marguerite Pierry.

Maker: André Adolphe Eugène Disdéri (1819-1889)

Born: France

Active: France

Medium: albumen print

Size: 4.1" X 2.5"

Location: France

Object No. 2017.322

Shelf: E-16-NAPO

Publication: Alles Wahrheit! Alles Luge!, Photographie und Wirklichkeit im 19. Jahrhundert, Museen de Stadt Koln, 1996, pg 93

Other Collections: GEM

Provenance: pcdf

Rank: 21

Notes: TBAL

To view our archive organized by themes and subjects, visit: OUR COLLECTIONS

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

One of my favorites that anyone that follows me knows, it is amazing how many different ways this can be processed to bring out a detail.

William-Adolphe Bouguereau. Pena. 1899

Montaje de "El mirlo también estaba allí".

--------------------------------------------

Prohibido el uso total o parcial de este montaje sin la autorización expresa del autor.

William-Adolphe Bouguereau enjoyed a remarkable popularity in the United States, particularly during the late 1800s through the early 20th century. Lauded and laureled by the French artistic establishment, and a dominant presence at the Parisian Salons, Bouguereau’s canvases offered American collectors the chance to bring Gallic sophistication and worldly elegance to their own galleries and drawing rooms. The master’s idealized, polished images—of chastely sensual classical maidens, Raphaelesque Madonnas, and impossibly pristine peasant children—embodied the tastes of the American Victorian age, and of his Gilded Age patrons. Bouguereau canvases at one time were de rigueur for every collector and arts institution from the late 1860s to the early 1900s in America.

Adolphe Bridge (Luxembourgish: Adolphe-Bréck, French: Pont Adolphe, German: Adolphe-Brücke) is an arch bridge in Luxembourg City, in southern Luxembourg. The bridge takes road traffic across the Pétrusse, connecting Boulevard Royal, in Ville Haute, to Avenue de la Liberté, in Gare. At 17.2 m wide, it carries four lanes of road traffic, three to Gare and a bus lane to Ville Haute, and has two footpaths for pedestrians.[1]

Adolphe Bridge has become an unofficial national symbol of sorts, representing Luxembourg's independence, and has become one of Luxembourg City's main tourist attractions. The bridge was designed by Paul Séjourné, a Frenchman, and Paul Rodange, a Luxembourger, and was built between 1900 and 1903. Its design was copied in the construction of Walnut Lane Bridge in Philadelphia, the United States.[2]

The bridge was named after Grand Duke Adolphe, who reigned Luxembourg from 1890 until 1905, and was the first monarch to hold the title not in personal union with another. Although it is now over 100 years old, it is also known as the New Bridge (Luxembourgish: Nei Bréck, French: Nouveau pont, German: Neue Brücke) by people from Luxembourg City. The 'old bridge' in this comparison is the Passerelle, which was built between 1859 and 1861.

(from wikipedia.org @ en.wikipedia.org/wiki/Adolphe_Bridge)

William-Adolphe Bouguereau enjoyed a remarkable popularity in the United States, particularly during the late 1800s through the early 20th century. Lauded and laureled by the French artistic establishment, and a dominant presence at the Parisian Salons, Bouguereau’s canvases offered American collectors the chance to bring Gallic sophistication and worldly elegance to their own galleries and drawing rooms. The master’s idealized, polished images—of chastely sensual classical maidens, Raphaelesque Madonnas, and impossibly pristine peasant children—embodied the tastes of the American Victorian age, and of his Gilded Age patrons. Bouguereau canvases at one time were de rigueur for every collector and arts institution from the late 1860s to the early 1900s in America.

Maker: André Adolphe Eugène Disdéri (1819-1889)

Born: France

Active: France

Medium: salted paper print

Size: 4 3/4 in x 6 in

Location: France

Object No. 2021.659

Shelf: B-2

Publication:

Other Collections: The Getty

Provenance

Notes: André-Adolphe-Eugène Disdéri (1819 - 1889) a self-taught daguerreotypist, researched and improved upon the existing collodion-on-glass negative process, which he outlined in his first publication, Manuel Opératoire de Photographie sur Collodion Instantané, 1853. That same year, he returned to Paris and opened the largest studio in Paris, which spread across two floors. It was there that he introduced his carte-de-visite portraits which were a great financial success. For the 1855 Paris Exposition Universelle, he formed the Société du Palais de l'Industrie and obtained the rights to photograph all the products and works of art exhibited at the Exposition. Eder writes "Disdéri was considered the outstanding portrait photographer of his time in Paris. Napoleon III appointed him court photographer. In 1861, he instructed French officers in photography under orders from the minister of war. Disdéri's popularity is best shown by the fact that his character was introduced in 1861 as a star attraction on the stage of a small vaudeville theater in Paris by a realistic representation featuring his bald head and tremendous beard."

(Source: Andrew. Cahan)

To view our archive organized by themes and subjects, visit: OUR COLLECTIONS

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

Chassis n° 82904

Coachwork by Henri Chapron

Aguttes

Autoworld - Auction & Motion

Estimated : € 120.000 - 180.000

Not sold

Autoworld

www.autoworld.be

Brussels - Belgium

October 2025

Founded in 1903 by Adolphe Clément-Bayard and Charles Chetwynd under the name Clément-Talbot, the company was bought by Darracq after the First World War. The manufacturer only became Talbot in 1922. In 1935, after the bankruptcy of Sunbeam-Talbot-Darracq, Italian engineer Anthony Lago took control of the French branch of the company, while the English branch, bought by Rootes, became Sunbeam Talbot, then Sunbeam. Due to the economic crisis, Talbot had to offer more modest models.

Born in Venice in 1893 and an engineer from the Milan Polytechnic, he gave the company a new impetus, based in particular on the principle that the prestige and technical expertise acquired in racing could be applied to passenger cars. The T150, an entirely new model presented at the 1934 Motor Show, perfectly represented the result of this approach. In June 1934, the first three T150s, chassis numbers 82900, 82901 and 82902, were presented at an elegance competition, one painted blue, another white and the third red: they were still fitted with the Talbot Fulgur grille.

The car illustrated on these pages has chassis number 82904. Its grille is the new model and its Tourer bodywork, a 4-seater with a soft top and folding windscreen, is very British in inspiration and bears the signature of the great coachbuilder Henri Chapron. According to the Catalogue des Catalogues, around thirty T150s with 3-litre engines left the factory, numbered from 82900 onwards. The T150s produced in 1934/1935 had three types of bodywork: coach, cabriolet or torpedo Tourer with cutaway doors, the latter model disappearing from the 1934/1935 winter catalogue. Today, only four of these ‘early’ T150s are known to exist, in varying states of repair: #82902, #82904, #82907 and #82915.

Car #82904, notwithstanding the date indicated on its registration document, must be from 1934, one of the first to have only one carburettor (it was in 1935 that the T150s were equipped with three carburettors, increasing the power from 100 to 110 hp). It was unearthed from a garage in 1996 and purchased at auction by its current owner, who completely restored it, with the T23 4-litre engine (non-hemispherical cylinder head) that still powers it today. On this subject, a copy of the logbook that accompanied it at the time, which details the maintenance work carried out between 1956 and 1964, when it was owned by Mr Michel Paul-Cavallier, an engineer living at the Château de Gentilly in Meurthe-et-Moselle, mentions an engine change in 1961, at 29,508 km. Mr Paul-Cavallier acquired this car in 1956 with 12,760 km on the odometer, and it had 35,856 km in 1996. The car has recently undergone a meticulous and complete restoration, and was only driven about 50 kilometres a few years ago. It will need to be restarted and serviced before it can be driven again. And even though it no longer has its original engine, it remains one of the oldest and most legendary surviving T150s, and the only one with a Chapron Tourer body (Chapron certificate included in the file). This is a unique opportunity to acquire a monument to the history of the Suresnes brand.

La tricoteuse

"Nymphes et Satires" (Ninfas y sátiro), 1873 por William-Adolphe Bourguereau (francés, 1825-1905).

La pintura representa a un grupo de ninfas que han capturado a un sátiro que las espiaba. Tres de ellas están empujándolo al río, mientras que la cuarta llama a otras ninfas para que se unan a la diversión.

People: Jehan Georges Vibert, French (1840 - 1902)

Title: Apotheosis of Louis-Adolphe Thiers

Alternate Title: Apotheosis of Adolphe Thiers / Apotheosis of M. Thiers / Les Funerailles de M. Thiers

Classification: Paintings

Work Type: painting

Date: c. 1878

Culture: French

Shrouded in the French flag and surrounded by symbols of national grief, Louis-Adolphe Thiers (1797–1877), president of the Third French Republic, lies in state.To his left, a mourning figure representing France bows her head, while to the right, a nude, winged figure of victory gestures toward the glorified wars of the past unfolding in the heavens. The allegorical composition was disparaged by several critics at the time, reflecting the ambivalence surrounding Thiers’s legacy because of his brutal suppression of the Paris Commune uprising (March–May 1871).

This is a smaller, grisaille version (painted in shades of gray) of the colorful painting that was exhibited at the Salon of 1878. Vibert was a painter, printmaker, and amateur photographer, and the unique American frame surrounding his painting underscores its playful mimicry of reproducible media. Constructed in New York in the 1890s, the frame is an enlarged version of the “shadow box” frames that collectors used to exhibit daguerreotypes and other works on paper in their homes.

(From Harvard Art Museums)

MTL00142

a poster by Adolphe Willette - 1893

Vierge Jésus and Saint Jean Baptiste

William-Adolphe Bouguereau (La Rochelle 30 de noviembre de 1825 – 19 de agosto de 1905) fue un pintor académico francés. Entre las personalidades de la época que confesaron admiración por su obra cabe destacar el pianista y compositor romántico Chopin.

Estudiante en la Académie Julian en París, sus pinturas realistas y de temas mitológicos fueron exhibidas en las exposiciones anuales del Salón de París durante toda su carrera. Aunque sufriese la indiferencia de los críticos, quizá debido a su fuerte oposición al entonces triunfante impresionismo, actualmente hay una nueva revalorización de su trabajo.

Bouguerau estuvo casado con otra artista, Elizabeth Jane Gardner. Gracias a su influencia, muchas instituciones de arte francesas se abrieron por primera vez a las mujeres, incluyendo la Academia francesa de Bellas Artes.

For more than forty years I've lived in Groningen even teaching Dutch History in my first years here. But I'd never gone out about 40 kms from Stad to Heiligerlee. The famous battle of Heiligerlee - May 23, 1568 - was the first battle of the 80-Years War for Dutch independence against the 'Spanish King'. The forces of William the Silent under the command of two of his brothers - Adolphe (1540-1568) and Louis - won, but Adolphe was killed. He's remembered by name in the Dutch national anthem.

The Dutch are not very nationalistiic and there's only a smallish monument at Heiligerlee. It was put up in the late nineteenth century just after the concept "80-Years War" had become an historical term. Fascinating, though, to see it at last.

The battle itself was fought mainly on the grounds and in very marshy fens of the monastery of the Norbertine nuns, Mons Sinaï. That nunnery was founded in 1204 but disbanded in 1594 when this area became Protestant.

The coat of arms of the Norbertines is Golden Yellow and Blue, and this little scene unfolding before my eyes reminded me...

Here's a Blue Leaf Beetle, Chrysolina coerulans, on Golden Buttons or Tansy, Tanacetum vulgare. I'm not sure what the Nasaaus would have thought, but I picked some Tansy and placed it by the commemorative statue of Heiligerlee which shows Adolphe, duke of Nassau, dying under the aegis of the Dutch Maiden whose wielded sword has apparently failed (inset top left)... unless, of course, she's claiming his dead body.

The Adolphe Bridge (Luxembourgish: Adolphe-Bréck, French: Pont Adolphe, German: Adolphe-Brücke) is a double-decked arch bridge in Luxembourg City, in southern Luxembourg. The bridge provides a one-way route for road traffic across the Pétrusse, from Boulevard Royal, in Ville Haute, to Avenue de la Liberté, in Gare. Its upper deck is 153 m in length and carries two lanes of road traffic, and two pedestrian footpaths. Its lower deck, opened in 2018, suspended beneath the upper deck, is 154 m in length, and carries a dedicated bidirectional bicycle path, with access provided for pedestrian use.[1] As of 13 December 2020, following the completion of the second phase of the construction of the city's new tramline, the bridge carries bidirectional tram traffic on its upper deck.[2]

The Adolphe Bridge has become an unofficial national symbol of sorts, representing Luxembourg's independence, and has become one of Luxembourg City's main tourist attractions. The bridge was designed by Paul Séjourné, a Frenchman, and Albert Rodange, a Luxembourger, and was built between 1900 and 1903. Its design was copied in the construction of Walnut Lane Bridge in Philadelphia, the United States.[3]

The bridge was named after Grand Duke Adolphe, who reigned Luxembourg from 1890 until 1905, and was the first monarch to hold the title not in personal union with another. Although it is now over 100 years old, it is also known as the New Bridge (Luxembourgish: Nei Bréck, French: Nouveau pont, German: Neue Brücke) by people from Luxembourg City. The 'old bridge' in this comparison is the Passerelle, which was built between 1859 and 1861.

Conversion to a double-decked bridge

In concordance with the reintroduction of trams in Luxembourg, major redesign and renovation work occurred between 2014 and 2017, with a temporary bridge constructed parallel operating in the interim.[1] The Adolphe Bridge was widened and reinforced to accommodate the new tramlines installed on its upper-deck.[1] Additionally, a 154 m long and 4 m wide lower deck was suspended beneath the existing deck, between the arches of the bridge, to act as dedicated bidirectional bicycle path and footpath.[1][7] Bicycle-friendly sloped approaches were dug on the western side of both ends of the bridge, and an additional stairwell was added on the eastern side of the Ville Haute approach.[1]

Place Victor Collard, Dinant (B)

Pascal Adolphe Jean Dagnan-Bouveret 1852-1929 Frankrijk

Talbot Brougham (1904) Engine 12 HP Four Cylinder

Country of Origin England, Ladbrooke Grove, London)

Registration Number SD 1534

2021 London-Brighton number 271

Body Brougham

Entrant Desmond Maybury

Pilote Desmond Maybury

TALBOT ALBUM

www.flickr.com/photos/45676495@N05/sets/72157623918911117...

Talbot - was originally founded in 1903 to sell French imported Clemment-Bayard cars under the Talbot brand. Financed by Charles Chetwyn-Talbot (20th earl of Shrewsbury) and Adolphe Clemment. Imports of the Clemment began in 1900 as Clemment-Talbots. By late 1904 its factory in Ladbrooke Grove, North Kensington began assembling cars from French components and the Clemment part of the name was dropped. Domestic designed Talbots followed from 1906.

Taken over in 1919 by the British owned French based Darracq, the Talbots becoming known as Talbot-Darracq and re-organised as part of the Sunbeam-Talbot-Darracq conglomerate. In 1935 STD collapsed being taken over by group with the French factory being bought by Anthony Lago, Talbot who used the brand name Lago-Talbot in France. Whereas in Britain Sunbeam-Talbot.

Production of the Talbot (British) continued until WW2 and resumed in 1946 until the Talbot name was dropped in 1955.

In France the Lago-Talbot continued until 1960 before being purchased by Simca

In 1967 Chrysler took over Rootes Group and merged it with Simca under the banner Chrysler Europe the Talbot brand name was used on Finnish produced Horizon, Solara and the 1510 models.

In 1978 Peugeot took over Chrysler Europe using the Talbot name to re badge the former Rootes and Simca products a situation that continued until the brand was once again phased out in 1985 in all but Finland were production of the Horizon continued until 1986 ending Talbot passenger cars. Although the name lived on with the Talbot Express panel van until the end of production in 1992

Diolch am 90,277,403 o olygfeydd anhygoel, mae pob un yn cael ei werthfawrogi'n fawr.

Thanks for 90,277,403 amazing views, every one is greatly appreciated.

Shot 07.11.2021 near Queen Elizabeth Gate, Hyde Park In that London in the South (London-Brighton weekend). Ref. 123-348

Maker: Adolphe Braun (1812-1877)

Born: France

Active: France

Medium: albumen print

Size: 3.5" x 7"

Location:

Object No. 2017.436

Shelf: E-14-BRAU

Publication: French Primitive Photography, Aperture, New York, 1969,

Histoire de la Photographie Francaise des origins a 1920, Creatis, Paris, 1982, end of Chapter 5

John J. McKendry, Four Victorian Photographers (calendar), Metropolitan Museum of Art, New York, 1968,

Other Collections:

Provenance: fulcus

Rank: 72

Notes: No 1513

To view our archive organized by Collections, visit: OUR COLLECTIONS

For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

Bien qu'Adolphe Block soit décédé en 1903. Soit son fils ou son épouse (???) reprirent l'entreprise Block jusqu'au début de Première Guerre mondiale au 121 rue Lafayette, Paris puis au 146 rue de Paris à Vincennes.

S : D.Pellerin in "DIABLERIES" London Stereo co.

Stéréo très plate…

21 mai 1911 : Le départ de la course Paris-Madrid est endeuillé par la « catastrophe d'Issy-les-Moulineaux », lorsqu'un concurrent (Louis Émile Train), victime d'ennuis de moteur et cherchant à se reposer, s'abat sur les officiels, tuant le ministre de la Guerre et blessant gravement le président du Conseil.

Louis-Emile Train est le cinquième concurrent à se présenter au départ. Il décolle, mais, ne parvenant pas à prendre de la hauteur, il tente un atterrissage d’urgence. Il évite le peloton de cuirassés qui se trouve sur la piste... mais pas le petit groupe de personnalités qu’il masquait. Maurice Berteaux, ministre de la Guerre, est grièvement blessé à la tête et l’un de ses bras est sectionné par l’hélice du monoplan. D’autres officiels seront blessés, mais seul le ministre de la Guerre succombera à ses blessures. On organisera en son honneur des funérailles nationales.

« J'ai pris le départ avec l'intention d'effectuer un ou deux tours de piste pour me rendre compte si tout marchait bien et d’atterrir au cas où quelque chose laisserait à désirer. Dès que je fus au volant, je me rendis compte que le moteur ne « tirait » pas suffisamment. Je me disposais à atterrir, après avoir effectué un virage, lorsque j’aperçus un peloton de cuirassiers traversant la piste. J’essayai alors de virer, pour l’éviter et atterrir en revenant sur mes pas ; mais le moteur faiblissant de plus en plus et voyant qu’il m’était impossible d’effectuer le virage, je redressai l’appareil et tentai d’aller atterrir au-delà du peloton. À ce moment, un groupe de personnes, masqué par les cuirassiers, s’éparpilla en tous sens et je fis l’impossible, risquant la vie de mon passager, pour prolonger mon vol et passer au-dessus des dernières personnes. J’allais y arriver lorsque l’appareil, complètement cabré, s’abattit lourdement. Je sortis de l’appareil avec mon passager, persuadé d’avoir évité tout accident. Ce n’est qu’à ce moment qu’atterré, je me suis aperçu de l’immense malheur. »

S : Le petit Parisien, Wiki.

www.flickr.com/photos/mfcj/5836386386/

www.radiofrance.fr/franceculture/quand-l-aviateur-train-s...

Although Adolphe Block died in 1903. Either his son or his wife (???) took over the Block business at 121 rue Lafayette, Paris, then at 146 rue de Paris in Vincennes, until the outbreak of the First World War.

S: D.Pellerin in “DIABLERIES” London Stereo co.

Very flat stereo...

May 21, 1911: The start of the Paris-Madrid race is mourned by the “Issy-les-Moulineaux catastrophe”, when a competitor (Louis Émile Train), suffering from engine trouble and seeking a rest, crashes into the officials, killing the Minister of War and seriously injuring the President of the Council.

Louis-Emile Train was the fifth competitor to take off. He takes off but, unable to gain height, attempts an emergency landing. He avoided the platoon of battleships on the runway... but not the small group of VIPs he was masking. Maurice Berteaux, Minister of War, was seriously wounded in the head, and one of his arms was severed by the monoplane's propeller. Other officials were injured, but only the Minister of War succumbed to his wounds. A state funeral was held in his honor.

Although Adolphe Block died in 1903. Either his son or his wife (???) took over the Block business at 121 rue Lafayette, Paris, then at 146 rue de Paris in Vincennes, until the outbreak of the First World War.

S: D.Pellerin in “DIABLERIES” London Stereo co.

Very flat stereo...

May 21, 1911: The start of the Paris-Madrid race is mourned by the “Issy-les-Moulineaux catastrophe”, when a competitor (Louis Émile Train), suffering from engine trouble and seeking a rest, crashes into the officials, killing the Minister of War and seriously injuring the President of the Council.

"I took off with the intention of doing one or two laps to see if everything was running smoothly, and landing in case anything went wrong. As soon as I got behind the wheel, I realized that the engine wasn't pulling enough. I was about to land, after making a turn, when I saw a platoon of cuirassiers crossing the runway. I then tried to turn, to avoid it and land by retracing my steps; but the engine was getting weaker and weaker, and seeing that it was impossible for me to make the turn, I righted the aircraft and tried to land beyond the platoon. At this point, a group of people, masked by the cuirassiers, scattered in all directions and I did the impossible, risking the life of my passenger, to extend my flight and pass over the last people. I was just about to do so when the aircraft, completely nose-up, came down heavily. I climbed out of the plane with my passenger, convinced I'd avoided an accident. It was only then that I realized what a terrible misfortune it had been.

S: Le petit Parisien, Wiki.

French postcard by Editions Cinémagazine, no. 136. Photo: Witzel.

Suave and debonair American actor Adolphe Menjou (1890-1963) with his trademark waxy black moustache was one of Hollywood's most distinguished stars and one of America's 'Best Dressed Men'. He started as a matinée idol in the silent cinema in such classics as Ernst Lubitsch's The Marriage Circle (1924). His sound films included Morocco (1931) with Marlene Dietrich and Gary Cooper, A Star is Born (1937), and Stanley Kubrick's Paths of Glory (1957) with Kirk Douglas. In 1931, he was nominated for an Oscar for The Front Page (1931).

Satan's Office. Tissue view series made by Adolphe Block, signed by Hennetier. France, 1870s.

Work of:

William-Adolphe Bouguereau

French Academic Artist

Genre Painter

1825 – 1905

A young nude woman sits with her arms outstretched, pushing away a winged boy. He is Cupid, the god of love, holding up an arrow to pierce her. The title suggests that the young woman is trying to defend herself, yet she smiles and struggles unconvincingly against the mischievous little god.

Orléans Cathedral (French: Basilique Cathédrale Sainte-Croix d'Orléans) is a Roman Catholic church located in the city of Orléans, France. The cathedral is the seat of the Bishop of Orléans.

It was originally built from 1278 to 1329. It was partially destroyed in 1568 by the Huguenots during the French Wars of Religion, but was rebuilt between 1601 and 1829. The edifice is in the Gothic architectural style.

During the Siege of Orléans, the cathedral was visited frequently by Joan of Arc. The cathedral's stained glass windows now depict the story of Joan's actions that contributed to the lifting of the siege.

Orléans is a city in north-central France, about 120 kilometres (74 miles) southwest of Paris. It is the prefecture of the department of Loiret and of the region of Centre-Val de Loire.

Orléans is located on the river Loire nestled in the heart of the Loire Valley, classified as a World Heritage Site, where the river curves south towards the Massif Central. In 2020, the city had 117,026 inhabitants within its municipal boundaries Orléans is the center of Orléans Métropole that has a population of 290,346.The larger metropolitan area has a population of 454,208, the 20th largest in France.

The city owes its development from antiquity to the commercial exchanges resulting from the river. An important river trade port, it was the headquarters of the community of merchants frequenting the Loire. It was the capital of the Kingdom of France during the Merovingian period and played an important role in the Hundred Years' War, particularly known for the role of Joan of Arc during the siege of Orléans. Every first week of May since 1432, the city pays homage to the "Maid of Orléans" during the Johannic Holidays which has been listed in the inventory of intangible cultural heritage in France. One of Europe's oldest universities was created in 1306 by Pope Clement V and re-founded in 1966 as the University of Orléans, hosting more than 20,000 students in 2019.

Orléans is located in the northern bend of the Loire, which crosses from east to west. Orléans belongs to the vallée de la Loire sector between Sully-sur-Loire and Chalonnes-sur-Loire, which was in 2000 inscribed by UNESCO as a World Heritage Site. The capital of Orléanais, 120 kilometres southwest of Paris, is bordered to the north by the Beauce region, more specifically the Orléans Forest (French: forêt d'Orléans) and Orléans-la-Source neighbourhood, and the Sologne region to the south.

Five bridges in the city cross the Loire: Pont de l'Europe, Pont du Maréchal Joffre (also called Pont Neuf), Pont George-V (also called Pont Royal, carrying the commune tramway), Pont René-Thinat and Pont de Vierzon (rail bridge).

To the north of the Loire (rive droite) is to be found a small hill (102 m (335 ft) at the pont Georges-V, 110 m (360 ft) at the Place du Martroi) which gently rises to 125 m (410 ft) at la Croix Fleury, at the limits of Fleury-les-Aubrais. Conversely, the south (on the rive gauche) has a gentle depression to about 95 m (312 ft) above sea level (at Saint-Marceau) between the Loire and the Loiret, designated a "zone inondable" (flood-risk zone).

At the end of the 1960s, the Orléans-la-Source neighbourhood was created, 12 kilometres (7 mi)to the south of the original commune and separated from it by the Val d'Orléans and the river Loiret (whose source is in the Parc Floral de la Source). This quarter's altitude varies from about 100 to 110 m (330 to 360 ft).

In Orléans, the Loire is separated by a submerged dike known as the dhuis into the Grande Loire to the north, no longer navigable, and the Petite Loire to the south. This dike is just one part of a vast system of construction that previously allowed the Loire to remain navigable to this point.

The Loire was formerly an important navigation and trading route, and is at the heart of the city's foundation in the second century BC as a center of trade or emporium. More recently, during the 17th century, the river enabled Orleans to become a major hub for refining sugar, which was imported from the Caribbean via Nantes, and whose commerce boosted other aspects of the local economy, such as sweets, chocolate manufacturing, and paper for wrapping.[16] In the 18th century, Orleans also acquired a reputation for producing vinegar, from local vineyards as well as wine traveling up the Loire.

With the increase in size of ocean-going ships, large ships can now navigate the estuary only up to about Nantes.

Boats on the river were traditionally flat-bottomed boats, with large but foldable masts so the sails could gather wind from above the river banks, but the masts could be lowered in order to allow the boats to pass under bridges. These vessels are known as "gabarre", "futreau", and so on, and may be viewed by tourists near pont Royal.

The river's irregular flow strongly limits traffic on it, in particular at its ascent, though this can be overcome by boats being given a tow.

An Inexplosible-type paddle steamer owned by the mairie was put in place in August 2007, facing Place de la Loire and containing a bar.

Every two years, the Festival de Loire recalls the role played by the river in the commune's history.

On the river's north bank, near the town centre, is the Canal d'Orléans, which connects to the Canal du Loing and the Canal de Briare at Buges near Montargis. The canal is no longer used along its whole length. Its route within Orléans runs parallel to the river, separated from it by a wall or muret, with a promenade along the top. Its last pound was transformed into an outdoor swimming pool in the 1960s, then filled in. It was reopened in 2007 for the "fêtes de Loire." There are plans to revive use of the canal for recreation and install a pleasure-boat port there.

Cenabum was a Gaul stronghold, one of the principal towns of the tribe of the Carnutes where the Druids held their annual assembly. The Carnutes were massacred and the city was destroyed by Julius Caesar in 52 BC. In the late 3rd century AD, Roman Emperor Aurelian rebuilt the city and renamed it civitas Aurelianorum ("city of Aurelian") after himself. The name later evolved into Orléans.

In 442 Flavius Aetius, the Roman commander in Gaul, requested Goar, head of the Iranian tribe of Alans in the region to come to Orleans and control the rebellious natives and the Visigoths. Accompanying the Vandals, the Alans crossed the Loire in 408. One of their groups, under Goar, joined the Roman forces of Flavius Aetius to fight Attila when he invaded Gaul in 451, taking part in the Battle of Châlons under their king Sangiban. Goar established his capital in Orléans. His successors later took possession of the estates in the region between Orléans and Paris. Installed in Orléans and along the Loire, they were unruly (killing the town's senators when they felt they had been paid too slowly or too little) and resented by the local inhabitants. Many inhabitants around the present city have names bearing witness to the Alan presence – Allaines. Also many places in the region bear names of Alan origin.

Early Middle Ages

In the Merovingian era, the city was capital of the Kingdom of Orléans following Clovis I's division of the kingdom, then under the Capetians it became the capital of a county then duchy held in appanage by the house of Valois-Orléans. The Valois-Orléans family later acceded to the throne of France via Louis XII, then Francis I. In 1108, Louis VI of France became one of the few French monarchs to be crowned outside of Reims when he was crowned in Orléans cathedral by Daimbert, Archbishop of Sens.

High Middle Ages

The city was always a strategic point on the Loire, for it was sited at the river's most northerly point, and thus its closest point to Paris. There were few bridges over the dangerous river Loire, but Orléans had one of them, and so became – with Rouen and Paris – one of medieval France's three richest cities.

On the south bank the "châtelet des Tourelles" protected access to the bridge. This was the site of the battle on 8 May 1429 which allowed Joan of Arc to enter and lift the siege of the Plantagenets during the Hundred Years' War, with the help of the royal generals Dunois and Florent d'Illiers [fr]. The city's inhabitants have continued to remain faithful and grateful to her to this day, calling her "la pucelle d'Orléans" (the maid of Orléans), offering her a middle-class house in the city, and contributing to her ransom when she was taken prisoner.

1453 to 1699

Once the Hundred Years' War was over, the city recovered its former prosperity. The bridge brought in tolls and taxes, as did the merchants passing through the city. King Louis XI also greatly contributed to its prosperity, revitalising agriculture in the surrounding area (particularly the exceptionally fertile land around Beauce) and relaunching saffron farming at Pithiviers. Later, during the Renaissance, the city benefited from its becoming fashionable for rich châtelains to travel along the Loire valley (a fashion begun by the king himself, whose royal domains included the nearby châteaus at Chambord, Amboise, Blois, and Chenonceau).

The University of Orléans also contributed to the city's prestige. Specializing in law, it was highly regarded throughout Europe. John Calvin was received and accommodated there (and wrote part of his reforming theses during his stay), and in return Henry VIII of England (who had drawn on Calvin's work in his separation from Rome) offered to fund a scholarship at the university. Many other Protestants were sheltered by the city. Jean-Baptiste Poquelin, better known by his pseudonym Molière, also studied law at the University, but was expelled for attending a carnival contrary to university rules.

From 13 December 1560 to 31 January 1561, the French States-General after the death of Francis II of France, the eldest son of Catherine de Médicis and Henry II. He died in the Hôtel Groslot in Orléans, with his queen Mary at his side.

The cathedral was rebuilt several times. The present structure had its first stone laid by Henry IV, and work on it took a century. It thus is a mix of late Renaissance and early Louis XIV styles, and one of the last cathedrals to be built in France.

1700–1900

When France colonised America, the territory it conquered was immense, including the whole Mississippi River (whose first European name was the River Colbert), from its mouth to its source at the borders of Canada. Its capital was named la Nouvelle-Orléans in honour of Louis XV's regent, the duke of Orléans, and was settled with French inhabitants against the threat from British troops to the north-east.

The Dukes of Orléans hardly ever visited their city since, as brothers or cousins of the king, they took such a major role in court life that they could hardly ever leave. The duchy of Orléans was the largest of the French duchies, starting at Arpajon, continuing to Chartres, Vendôme, Blois, Vierzon, and Montargis. The duke's son bore the title duke of Chartres. Inheritances from great families and marriage alliances allowed them to accumulate huge wealth, and one of them, Philippe Égalité, is sometimes said to have been the richest man in the world at the time. His son, King Louis-Philippe I, inherited the Penthièvre and Condé family fortunes.

1852 saw the creation of the Compagnies ferroviaires Paris-Orléans and its famous gare d'Orsay in Paris. In the Franco-Prussian War of 1870, the city again became strategically important thanks to its geographical position, and was occupied by the Prussians on 13 October that year. The armée de la Loire was formed under the orders of General d'Aurelle de Paladines and based itself not far from Orléans at Beauce.

1900 to present

During the Second World War, the German army made the Orléans Fleury-les-Aubrais railway station one of their central logistical rail hubs. The Pont Georges V was renamed "pont des Tourelles". A transit camp for deportees was built at Beaune-la-Rolande. During the war, the American Air Force heavily bombed the city and the train station, causing much damage. The city was one of the first to be rebuilt after the war: the reconstruction plan and city improvement initiated by Jean Kérisel and Jean Royer was adopted as early as 1943, and work began as early as the start of 1945. This reconstruction in part identically reproduced what had been lost, such as Royale and its arcades, but also used innovative prefabrication techniques, such as îlot 4 under the direction of the architect Pol Abraham.

The big city of former times is today an average-sized city of 250,000 inhabitants. It is still using its strategically central position less than an hour from the French capital to attract businesses interested in reducing transport costs.

Heraldry

According to Victor Adolphe Malte-Brun in La France Illustrée, 1882, Orléans's arms are "gules, three caillous in cœurs de lys argent, and on a chief azure, three fleurs de lys Or." Charle Grandmaison, in the Dictionnaire Héraldique of 1861, states that it is "Or, with three hearts in gules", without the chief of France. Faulty designs sometimes describe it as "gules, three fleurs de lys argent, and on a chief azure three fleurs de lys Or."

The "cœurs de lys", or heart of a lily, is not a true lily, which would have 6 tepals, but a stylized or symbolic lily. Certain authors solve the problem by calling this symbol a "tiercefeuille", defined as a stemless clover leaf, with one leaf at the top and two below, thus making this coat of arms "gules, with three reversed tiercefeuilles in argent, etc".

Motto

"Hoc vernant lilia corde" (granted by Louis XII, then duke of Orléans), meaning "It is by this heart that lilies flourish" or "This heart makes lilies flourish", referring to the fleur de lys, symbol of the French royal family.

Orléans is the birthplace of:

Sophie Adriansen (born 1982), French writer

Patrick Barul (born 1977), football player

Joelly Belleka (born 1995), basketball player

Raoul Blanchard (1877–1965), geographer

Maxence Boitez (Ridsa) (born 1990), singer

Patrick Bornhauser (born 1957), racing driver

Raymond Brugère (1885-1966), diplomat.

Jean-Baptiste Marc Bourgery (1797–1849), anatomist

Félix Cazot (1790–1857), classical pianist and composer

Philippe Chanlot (born 1967), football player

Marion Cotillard (born 1975), actress, not born in Orléans, but grew up there

Gilles Delouche (1948–2020), linguist

Étienne Dolet (1509–1546), scholar and printer

Joël-François Durand (born 1954), composer

Jean-Louis Ferrary (1948–2020), historian

Georges Fleury (1878–1968), cyclist

Albert Gombault (1844–1904), neurologist

Guillaume Gomez (born 1969), racing driver

Jacques Guillemeau (1550–1613), physician

Albert Guyot (1881–1947), racing driver

Étienne Hubert (1567–1614), Arabist

Gaston d'Illiers (1876–1932), sculptor

Isaac Jogues (1607–1646), Jesuit missionary

Stanislas Julien (1797–1873), orientalist

Gustave Lanson (1857–1934), historian

Pierre Levesville (1570–1632), Renaissance architect

Anatole Loquin (1834–1903), writer and musicologist

Yven Moyo (born 1992), football player

Yves-Marie Pasquet (born 1947), composer

Charles Péguy (1873–1914), poet and essayist

Antoine Petit (1722–1794), physician

Lamine Sambe (born 1989), basketball player

Yacine Sene (born 1982), basketball player

Florian Thauvin (born 1993), football player

Christophe Tinseau (born 1969), racing driver

Jean Zay (1904–1944), jurist and politician

Historical landmarks

The Gallo-Roman town-wall on the north side of the cathedral (4th century AD) and along the rue de la Tour-Neuve

The Hôtel Groslot, built between 1550 and 1555 for Jacques Groslot, "bailli d'Orléans" by Jacques Ier Androuet du Cerceau. King François II of France died there in 1560. Kings Charles IX, Henri III of France and Henri IV of France stayed there. The "Hôtel" was restored in 1850. The building became the town Hall of Orléans in 1790 (weddings are still celebrated inside).

The hôtel de la Vieille Intendance (early 15th century) (otherwise named hôtel Brachet, formerly "The King's house"), real gothic-renaissance style château made of bricks.[27] Nowadays housing the Administrative Court of Orléans. One can admire its frontage from the entrance in the rue de la Bretonnerie. Yet, the building – which sheltered the highest figures of the kingdom passing by the city, and maybe some kings themselves (Henri IV, Louis XIII, Louis XIV of France) – can easily be observed from its gardens, opened to the public (entrance rue d'Alsace-Lorraine).

The hôtel de la Motte-Sanguin (18th century) and its gardens, manor built at the behest of Louis-Philippe, Duke of Orléans (1747–1793), cousin of the King Louis XVI. He was surnamed "Philippe Égalité" / "equality" referring to his support to the 1789 revolutionaries. Nicknamed "the richest man on earth" he voted in favour of the death penalty against his own cousin the king Louis XVI, and suffered the same fate himself. This is a classic style princely residence (and even royal, since Philippe Égalité's heir accessed the throne of France under the name of Louis-Philippe Ier). It is part of a public park opened to the public (via the Solférino street).

The school of artillery, next to the Hôtel de la Motte-Sanguin which it is often confused with, formerly housing a military school, it was built in the 19th century near the Loire.[28]

Remains of the University of Orléans (a 15th-century building housing the thesis room), founded in 1306 by pope Clement V, in which, among many other great historical figures, the Protestant John Calvin studied and taught. The University was so famous that it attracted students from all over Europe, particularly Germany. The city of Orléans is one of the cradles of Protestantism.

The House of Louis XI (end of the 15th century), on Saint-Aignan square. Built at the behest of the king, who particularly revered Saint Aignan.

The House of Joan of Arc, where she stayed during the siege of Orléans (this is actually an approximate reconstitution, the original building being bombed in 1940 during the Battle of France).

Place du Martroi, heart of the city, with the equestrian statue of Joan of Arc at its centre, made by Denis Foyatier. This statue was damaged during the Second World War, then repaired by Paul Belmondo, father of the famous 1950s to 1980s French actor.

Duke of Orléans' Chancellerie (XVIIIe), located next to the Place du Matroi, also bombed during the Second World War, only the frontage resisted.

The Bannier gate-house, discovered in 1986 under the statue of Joan of Arc (Place du Martroi). It was built in the 14th century. It can be seen through a window in the subterranean car-park under the square, or visited under certain conditions.

The rue de Bourgogne and surrounding streets, Orléans' main street since the Antiquity, it's the former Roman decumanus, crossing the city from east to west. Joan of Arc entered the city in 1429 by the "Bourgogne" gatehouse situated at its Easter end. Until today it is still giving access to the "Prefecture", where the "Prefet" (officer who represents the French State in the Region) lives, many pubs, night clubs, restaurants and shops such as the "Galeries Lafayette". It is more than a mile long. One can admire many medieval houses on its sides.

The Tour Blanche / White Tower, it is one of the only medieval defensive towers remaining in the city (still in use at the time of the siege of Orléans). It nowadays houses the city's archaeological department.

The Docks, (Port of Orléans) once the most important inland port of France (18th century). While boats could not sail on the river Seine because of the windings, they could sail to Orléans on the river Loire with the wind in their back. Then the merchandise was brought to Paris by roadways. Wine, and sugar from the colonies, were shipped to Orléans where they were stored and refined. Vinegar is still a city speciality due to the lapsing of wine stocks during the shipment. One can admire the old pavement of the docks (18th and 19th centuries) on the north bank of the river in the city and on the island in the middle, that was used to channel the water

The Hôpital Madeleine (former hospital), built by King Louis XIV (18th century) and his successors (notably an important part of the 18th century).

Saint-Charles chapel, located within the grounds of the Madeleine Hospital, it was built in 1713 by Jacques V Gabriel, one of Louis XIV's architects.

The Hôtel Cabu, otherwise named house of Diane de Poitiers, built at the behest of Philippe Cabu, barrister, in 1547, famous architect Jacques Ier Androuet du Cerceau providing the plans.

The Hôtel Hatte, 16th century. Today's Charles-Péguy Center.

The Hôtel Toutin, 16th century

The Hôtel Pommeret d'Orléans, 16th century

The Hôtel Ducerceau, 16th century

The maison de la coquille, 16th century

The Hôtel des Créneaux, former city hall, flanked by its bell tower (15th century). It nowadays houses the city's school of music. This is a magnificent piece of late gothic secular architecture (15th century) that calls to mind the famous and much more recent Parisian city hall.

The House of Jean Dalibert, 16th century

The Study of Jacques Bouchet (16th century), which can be admired from the public square "Jacques Bouchet"

The mansions, rue d'Escure (17th and 18th centuries)

The "Préfecture" : former Benedictine monastery, built in 1670 and housing the "Préfecture du Loiret" since 1800.

The Pont de l'Europe, designed by Santiago Calatrava, is an inclined bow-string ark bridge particularly original.

The Pont Royal / George V Royal bridge, the oldest bridge of the city. Built between 1751 and 1760, at the request of Daniel-Charles Trudaine, administrator and civil engineer. It was renamed in honour of King George V after the World War I out of respect of Britain's role in the war.

The Pont des Tourelles, built in 1140 and demolished in 1760, was the first stone-made bridge of Orléans. When the river Loire is low, one can see remains of it in the water

The Palais épiscopal d'Orléans, former Bishop's Palace. It was built between 1635 and 1641. Napoléon stayed there. It is nowadays housing the international centre for research, part of University of Orléans.

The courthouse (18th to 20th centuries)

The "salle de l'Institut", located on the "place Sainte Croix", is a small concert hall which can be converted into a ballroom. Its acoustics are remarkable.

Mansions, rue de la Bretonnerie. This street concentrates many particular mansions, of all styles and ages (15th to 20th centuries). High society members, politicians, barristers, doctors... continue to live there.

Mansions, rue d'Alsace-Lorraine, 19th-century bourgeoisie style houses.

Statue La Baigneuse by Paul Belmondo, aside the rue Royale (1955).

Statue of Calvin, by Daniel Leclercq, facing the Calvinist temple (2009).

The FRAC Centre building named "Les turbulences", an advanced piece of architecture covered with L.E.Ds.

Memorial Museum to the Children of Vel d'Hiv at the Centre d'étude et de recherche sur les camps d'internement du Loiret (Study and Research Centre on the Internment Camps in Loiret), commemorating over 4,000 Jewish children who were concentrated at the Vélodrome d´Hiver cycling arena in Paris in July 1942, after which they were interned at either Pithiviers or Beaune-la-Rolande, and eventually deported to the Auschwitz extermination camp.

Many historical houses and mansions (hundreds) can still be admired in the city centre, which is one of the largest in France due to the great importance of the city until the 20th century. The historical centre dating back to the 15th century extends far beyond the limits of the pedestrian sector that has been extensively restored in the past few years. In fact it corresponds to the portion of the modern city which is enclosed by the Boulevards. Many historical monuments remain in the non-pedestrian sectors of the city (for example, at rue Notre-Dame-de-Recouvrance, at rue des Carmes, at rue de la Bretonnerie, at Square Saint-Aignan).

Maker: Adolphe Louis Donnadieu (1840–1911)

Born: France

Active: France

Medium: book

Size: 6 1/2" x 9 3/4"

Location:

Object No. 2016.645

Shelf: B-40

Publication:

Other Collections:

Provenance: Ader Nordmann, Livres de Photographies, May 12, 2016. lot 3

Rank: 84

Notes: TBAL

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St. Adolphe bridge.

The Grand Duchy of Luxembourg is a small, landlocked country in western Europe, bordered by Belgium, France, and Germany. One of its landmarks is the St. Adolphe bridge which was named after Grand Duke Adolphe, who reigned Luxembourg from 1890 until 1905. The bridge, although over a century old, is also known as the New Bridge by people from Luxembourg City.

These days, it's hard to find a location where you can be guaranteed good weather. It's been dreary and raining in this part of the world for several days -- conditions not ideal for photography. On this trip to Luxembourg, it was overcast the entire day, and although blue hour was quite hazy and lame, I was thankful that at least it came right before the rain.

Nikon D200; Lens: 17-55mm/ f /2.8; Focal Length: 40mm; Exposure: 15.0 sec @ f/13; ISO 100; Copyright © Yen Baet. All Rights Reserved. Not to be used without permission.

Say hello at www.yenbaet.com.

D667_369

17/08/2012 : Manchester, Mosley St, Manchester Art Gallery: Life drawing of a male nude with a cane (detail; black chalk and graphite on paper; Adolphe Valette, ca. 1910-12)

(detail) A Young Girl Defending Herself Against Eros, ca 1880. Oil on canvas (1825-1905) Getty Center

Oil on canvas; 115.6x88.9 cm.

My Bloody Valentine

⚫️

CD :

Björk

Venus As A Boy

One Little Indian

122 TP 7 CDL

Design . Me Company

Postcard :

William - Adolphe Bouguereau

Eros

Huile Sur Toile

1877

Use Hearing Protection

GMA

Maker: André Adolphe Eugène Disdéri (1819-1889)

Born: France

Active: France

Medium: albumen print

Size: 5 7/8 x 4 1/2 x 1 in

Location: France

Object No. 2015.784u

Shelf: J-12

Publication:

Other Collections:

Notes: contained in Galerie des Contemporains, Vol. 12. According to McCauley Galerie des contemporains could either be purchased in volumes of 25 biographies or assembled by subscribers. Disdéri reached an agreement with the editor Zacharias Dollingen in which Dollingen hired journalists to provide the biographical notices which would accompany Disdéri's photographs.

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Maker: Adolphe Braun (1812-1877)

Born: France

Active: France

Medium: albumen print

Size: 6.25 in x 4.25 in

Location: France

Object No. 2011.021

Shelf: E-52-BRAU

Publication: Image and Enterprise: The Photographs of Adolphe Braun, London, Thames & Hudson, 2000, pg 150 (similar)

Other Collections:

Notes: TBAL

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For information about reproducing this image, visit: THE HISTORY OF PHOTOGRAPHY ARCHIVE

Pavla MIkolavčić and Mykola Gorodiskii in Pas de deux pour Mlle.

Bacchante

www.clementphilippon.com/

Maker: Adolphe Terris (1820-1900)

Born: France

Active: France

Medium: albumen print

Size: 9.75" x 7.5"

Location: France

Object No. 2019.776

Shelf: B-11

Publication: Renovation de la Vielle Ville de Marseille, 1862

Other Collections:

Provence:

Notes: Renovation of the old section of Marseille. Terris is a very important photographer in the ranks with Baldus, Marville and Le Gray, but he worked in Marseilles and not Paris. Title translates as "Street of Cheats". On original printed mount. Titles, date, photographer credit and other information is printed on the recto of the mount.

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Artist William-Adolphe Bouguereau, French, 1825-1905

Oil on canvas, 1886

By the 19th century, two views of femininity had developed, the Romantic, or Pre-Raphaelite view where the woman was etherial and spiritual, and the Realistic view where the woman was placed into a natural setting.

In this painting the young woman is a shepherdess, and she is not accepting any nonsense. You can practically hear her telling Dante Gabriel Rossetti to put up his paints and clean up that mess his sheep have made. That left foot is going to start tapping in another minute.

William-Adolphe Bouguereau, an academically-trained artist, is best known for his paintings of mythological images and scenes of everyday peasant life. He preferred to work in a precise, finished style rather than the loose, spontaneous, brushstrokes made famous by his contemporaries.

In Young Girl, Bouguereau depicts a nearly life-size shepherdess, one of his favorite subjects.