Joan of Arc
The original, as its museum records it
Every line above is reproduced from the holding institution’s own catalogue entry, which is linked. Where their title, date or attribution differs from ours, theirs is the one printed here.
The file this print is made from
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About this painting
The stool is overturned, the spinning wheel left standing: Joan is pulled from ordinary work mid-motion. Her hand grips a branch, her toes clench the earth, her cheeks flush; Bastien-Lepage paints ecstasy as bodily strain, not a halo.
The wheel is the trade she claimed at Rouen, telling her judges she feared no woman at spinning: the vision takes a working body. Behind her, Michael, Margaret, and Catherine stand pale and half-dissolved in the leaves, armed Michael instructing her to take up arms against the English.
Zola objected: one realist peasant girl beside frankly supernatural saints.
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).
Printed on demand. Public-domain masterwork, reproduced from a 3,612 px master of the original. The whole image is printed — never cropped to fit the sheet — so every sheet carries an archival margin, and the dimensions and resolution listed above are the ones you receive.