The Whitney Collection, Promised Gift of Wheelock Whitney III, and Purchase, Gift of Mr. and Mrs. Charles S. McVeigh, by exchange, 2003
Not on view
Salières, who studied with the academic painter Paul Delaroche, made his exhibition debut at the Paris Salon of 1847 and showed this painting there the following year; it retains its original frame. This is ostensibly an unassuming scene of everyday life in the artist's native Languedoc region. But for many mid-nineteenth century viewers it would have evoked La cruche cassée (The Broken Pitcher), the iconic painting of lost innocence by Jean-Baptiste Greuze (1725–1805), then as now in the Musée du Louvre, Paris.
Inscription: Signed (lower left): P. N. Salieres
Monsieur C[...]. (until d.; his estate); Camille Renault (until d.; estate sale, Hôtel Drouot, Paris, April 9, 1986, no. 204, to Whitney); Wheelock Whitney III, New York (from 1986)
Paris. Salon. 1848, no. 4049 (as "Le raccommodeur de faïence").
Aleth Jourdan inCourbet à Montpellier. Exh. cat., Musée Fabre. Montpellier, 1985, p. 82, under no. 60, cites it among examples of Salière's genre scenes inspired by street life.
Asher Ethan Miller. "The Path of Nature: French Paintings from the Wheelock Whitney Collection, 1785–1850." Metropolitan Museum of Art Bulletin 70 (Winter 2013), p. 47, fig. 66 (color).