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Joan of Arc
1879 · Oil on canvas · The Metropolitan Museum of Art, New York
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image 12.2×11 in on a 14×11 in sheet
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All editionsAbout this painting
Work stops in a garden: the stool tipped over, the spinning wheel still standing. Saint Joan stands barefoot under the boughs, one arm out to a branch, her eyes wide on something past us. Bastien-Lepage paints the call as strain in the body, not a halo. The wheel is her own trade; at Rouen she told her judges she feared no woman at spinning. Behind her, pale in the leaves, stand Michael, Margaret and Catherine, as the Met names them, armed Michael instructing her to take up arms against the English. Zola objected to a realist girl beside frankly supernatural saints. They stay, faint as breath on glass.
Sources: Met object page: overall subject description, saints named, Michael instructing Joan to take up arms, artist bio (Damvillers/Lorraine), Franco-Prussian War context · NGV exhibition essay: identifies the model as the artist's cousin Marie-Adele Robert · Met 'The Great Debate' essay: Zola criticized the painting for mixing realist technique with an overtly supernatural vision, disrupting naturalist unity · Trial of Condemnation, second public examination, Thursday 22 February 1431, in T. Douglas Murray, ed., 'Jeanne d'Arc, Maid of Orleans' (McClure, Phillips, 1902).