"CHARLOTTE CORDAY AWAITS THE GUILLOTINE"
BY CHARLES LOUIS LUCIEN MULLER (1815-1892)
THIS IS AN ORIGINAL OIL PAINTING ON CANVAS PAINTED ON OCTOBER 9TH, 1889 BY RENOWNED FRENCH ARTISTS, CHARLES LOUIS LUCIEN MULLER IN COLLABORATION WITH ALFRED DE RICHMONT. BOTH ARTISTS WERE ALIVE DURING THE SAME ERA AND IT APPEARS THERE WAS SOME FORM OF COLLABORATION BETWEEN THEM IN THE CREATION OF THIS PAINTING.
THIS PHOTOREALISTIC PAINTING DEPICTS A PORTRAIT OF CHARLOTTE CORDAY WHO WAS A SKILLED ASSASSIN AND OUTSPOKEN WOMAN FOR WOMEN'S RIGHTS DURING THE FRENCH REVOLUTION. IN THIS POWERFUL PORTRAIT, CHARLOTTE CORDAY HOLDS AN INK QUILL IN HER HAND WHILST IMPRISONED AWAITING IMPENDING DEATH BY GUILLOTINE.
THE ARTWORK IS IN EXCELLENT CONDITION. THE PAINTING IS SIGNED BY ALFRED DE RICHMONT AVEC CHARLES LOUIS LUCIEN MULLER AND DATED OCTOBER 9TH, 1889 , BOTTOM RIGHT.
THE DIMENSIONS ARE 19.5 X 16 INCHES. and 26 x 22 INCHES FRAMED. THERE IS A NICE WOOD FRAME AND THE PAINTING IS READY TO HANG ON THE WALL. THIS FINE PAINTING WILL ADD CHARACTER AND CLASS TO ANY HOME.
THE PROVENANCE OF THIS FINE ARTWORK IS FROM A PROMINENT ESTATE AUCTION IN DALLAS TEXAS. A CERTIFICATE OF AUTHENTICITY HAND SIGNED BY LAURENT ASHTON SIEGEL ON ARCHIVAL LAID PAPER WILL ACCOMPANY THIS ARTWORK.
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BIOGRAPHY OF CHARLOTTE CORDAY COURTESY OF WWW.WIKIPEDIA.ORG:
From Wikipedia, the free encyclopedia
Portrait of Charlotte Corday, artist unknown
||Marie-Anne Charlotte de
27 July 1768
Saint-Saturnin-des-Ligneries, Ecorches, Orne, Normandy,
||17 July 1793 (aged 24)
|Cause of death
||Decapitation by guillotine
||A figure of the French Revolution, executed for the assassination of Jean-Paul Marat
||Jacques François de Corday, seigneur d'Armont
Charlotte Marie Jacqueline Gaultier de Mesnival
Marie-Anne Charlotte de Corday d'Armont (27 July 1768 – 17
July 1793), known to history as Charlotte Corday, was a figure of
the French Revolution. In 1793, she was
executed under the guillotine for the assassination of Jacobin
leader Jean-Paul Marat, who was partly responsible
for the Reign of Terror. His murder was memorialized
in a celebrated painting by Jacques-Louis David which shows Marat
after Corday had stabbed him to death in his bathtub. In 1847, writer Alphonse de Lamartine gave Corday the
posthumous nickname l'ange de l'assassinat (the Angel of
Born in Saint-Saturnin-des-Ligneries, a hamlet in the commune of Écorches
Charlotte Corday was a member of a minor aristocratic family. She was a
descendant of the dramatist Pierre Corneille, in direct line (5th generation) from
his daughter and down the women's side of the family. Her parents were
While Charlotte Corday was a young girl, her mother, Charlotte Marie
Jacqueline Gaultier de Mesnival (1737-1782) and her older sister died.
Her father, Jacques François de Corday, seigneur d'Armont
(1737-1798), unable to cope with his grief over their death, sent
Charlotte and her younger sister to the Abbaye-aux-Dames convent
in Caen where she had access to the abbey's library and first
encountered the writings of Plutarch,
Rousseau and Voltaire.
After 1791, she lived in Caen with her cousin, Madame Le Coustellier de
Bretteville-Gouville. The two developed a close relationship and
Charlotte was the sole heir to her cousin's estate.
 Marat's assassination
by Paul Jacques Aimé
, posthumous (1860): Under the Second Empire
, Marat was seen as a revolutionary
monster and Corday as a heroine of France, represented in the wall-map.
Jean-Paul Marat was a member of the radical Jacobin
faction which would have a leading role during the Reign of Terror. As a journalist, he exerted power and
influence through his newspaper, L'Ami du peuple ("The Friend of the People").
Charlotte Corday's decision to kill Marat was stimulated not only by
her revulsion at the September Massacres, for which she held Marat
responsible, but for her fear of an all out civil war.
She believed that Marat was threatening the Republic, and that his
death would end violence throughout the nation. She also believed that King Louis XVI should not have been executed.
On 9 July 1793, Charlotte left her cousin, carrying a copy of Plutarch's
Parallel Lives, and went to Paris, where
she took a room at the Hôtel de Providence. She bought a kitchen
knife with a six-inch blade. She then wrote her Addresse aux Français
amis des lois et de la paix ("Address to the French people, friends
of Law and Peace") to explain her motives for assassinating Marat.
She went first to the National Assembly to
carry out her plan, but discovered Marat no longer attended meetings.
She went to Marat's home before noon on 13 July, claiming to have
knowledge of a planned Girondist uprising in Caen; she was
turned away. On her return that evening, Marat admitted her. At the
time, he conducted most of his affairs from a bathtub
because of a debilitating skin condition. Marat wrote down the names of the
Girondists that she gave to him, then she pulled out the knife and
plunged it into his chest, piercing his lung, aorta and left ventricle. He
called out, Aidez-moi, ma chère amie! ("Help me, my dear
friend!") and died.
This is the moment memorialised by Jacques-Louis David's painting (illustration,
right). The iconic pose of Marat dead in his bath has been reviewed
from a different angle in Baudry's posthumous painting of
1860, both literally and interpretively: Corday, rather than Marat, has
been made the hero of the action.
At her trial, Charlotte Corday testified that she had carried out the
assassination alone, saying "I killed one man to save 100,000." It was
likely a reference to Maximilien Robespierre's words before the execution
of King Louis XVI. On 17 July 1793, four days after Marat was killed,
Charlotte Corday was executed under the guillotine.
Charlotte Corday. Anonymous etching after a drawing made on the day of
her execution, 17 July 1793, by Charles-Paul Jérôme de Bréa (1739-1820).
After her decapitation, a man named Legros lifted her head from the
basket and slapped it on the cheek.
Witnesses report an expression of "unequivocal indignation" on her face
when her cheek was slapped. This slap was considered unacceptable and
Legros was imprisoned for three months because of his outburst
Jacobin leaders had her body autopsied immediately after her death to
see if she was a virgin. They believed there was a man sharing her
bed and the assassination plans. To their dismay she was found to be virgo
intacta (a virgin) a condition that focused
more attention on women throughout France -- laundresses, housewives,
domestic servants -- who were also rising up against authority after
having been controlled by men for so long.
The assassination did not stop the Jacobins or the Terror: Marat
became a martyr, and busts of him replaced crucifixes
and religious statues that had been banished under the new regime.
 Hair and controversy
Soon after her death, confusion arose surrounding the color of
Corday's hair. Although her passport, filled out and signed by a Caen
official, describes her hair as chestnut brown, the painting "The Murder
of Marat" by Jean-Jacques
Hauer pictures Corday as having powdered blond hair. Following
Corday's execution and the popularity of Hauer's painting, stories
quickly spread about how Corday had hired a local coiffeur to straighten
and lighten her hair. Although this story rapidly became popular in
Paris at the time, there is no historical evidence to support that it
actually happened. Part of the reason for the discrepancy in
descriptions of Corday can be attributed to the stigma attached to
powdered hair. At the time, only nobility and Royalty ever powdered
their hair, and in a time of violent anti-royalist revolt, such
association can be powerful in influencing popular opinion.
 Cultural references
- Percy Bysshe Shelley wrote about her in his Posthumous Fragments of
Margret Nicholson (1810).
- Alphonse de Lamartine devoted to her a
book of his Histoire des Girondins (1847), in which he gave her
this now famous nickname: "l'ange de l'assassinat" (the angel of
- Italian composer Lorenzo Ferrero (1951– ) composed an opera in three acts Charlotte
Corday, which was premièred at Teatro dell'Opera di Roma in
- In Peter Weiss's Marat/Sade,
the assassination of Marat is presented as a play, written by the Marquis de Sade, to be performed by inmates of the asylum at
Charenton, for the public.
- American dramatist Sarah
Pogson Smith (1774–1870) also memorialised Corday in her verse drama
The Female Enthusiast: A Tragedy in Five Acts (1807). A minor
character in P.G. Wodehouse's Jeeves
series is named after Charlotte Corday.
- British singer-songwriter Al
Stewart included a song co-written by Tori
Amos about Corday on his album Famous Last Words
- In Katherine Neville's novel The Eight, Charlotte Corday changes place with
the heroine Mireille, who kills Jean-Paul Marat for revenge.
- French dramatist François Ponsard (1814–1867) wrote a play, Charlotte
Corday, which was premièred at the Théâtre-Français in
- A novel by the English writer Graeme Fife, "Angel of the
Assassination" tells Charlotte's story. It was first published in 2009
by the American publisher Merit Publishing International.
- The historical-fiction "My Bonny Light Horseman", part of the Bloody
Jack series by L.A. Meyer, references a Jean-Paul de Valdon, who claims
to be the cousin of Charlotte Corday
Whitham, John Mills, Men and Women of the French Revolution,
Freeport, New York: Books for Libraries Press, Inc., 1968, pp. 154-155.
ib. Whitham, p. 157.
ib. Whitham, p. 161.
ib. Whitham, p. 160.
Charles-Henri Sanson, the executioner, indignantly rejected published
reports that Legros was one of his assistants. In his diary, Sanson
stated that Legros was in fact a carpenter who had been hired to make
repairs to the guillotine. See:La Révolution française vue par son
bourreau : Journal de Charles-Henri Sanson, Éditions de l'Instant,
1988; Le Cherche Midi, 2007, p. 65, ISBN 2-7491-0930-2, ISBN 978-2-7491-0930-5,(French).
Mignet, François, History of the French
Revolution from 1789 to 1814, (1824).
Corazzo, Nina, and Catherine R. Montfort, Charlotte Corday:
femme-homme, in Literate Women and the French Revolution of 1789,
ed. Catherine R. Montfort, 47 (Birmingham, Alabama: Summa Publications,
Inc., 1994), 45.
"The Blonding of Charlotte Corday", in Eighteenth Century Studies, by
Nina Rattner Gelbart, (Baltimore, Maryland: The Johns Hopkins University
 Further reading
- Guillaume Mazeau, "Le bain de l'histoire. Charlotte Corday et
l'attentat contre Marat (1793-2009"), Seyssel, Champ Vallon, 2009.
- Guillaume Mazeau, "Corday contre Marat. Deux siècles d'images",
Versailles, Artlys, 2009.
- Guillaume Mazeau, "Charlotte Corday en 30 Questions", La Crèche,
Geste éditions, 2006.
- Charlotte Corday, L’Addresse aux Français amis des lois et de la
paix ("Address to French friends of the Law and Peace").
- Stanley Loomis, Paris in the Terror, J. B. Lippincott, 1964.
- Franklin, Charles, Woman in the Case, New York: Taplinger,
- Goldsmith, Margaret, Seven Women Against the World, Methuen,
- Sokolnikova, Halina, Nine Women Drawn from the Epoch of the
French Revolution, Trans. H C Stevens, Cape, New York, 1932.
- Corazzo, Nina, and Catherine R. Montfort, Charlotte Corday:
femme-homme, In Literate Women and the French Revolution of 1789,
edited by Catherine R. Montfort, umma Publications, Inc., Birmingham,
- Gutwirth, Madelyn, The Twilight of the Goddesses; Women and
Representation in the French Revolutionary Era, Rutgers University
Press, New Brunswick, New Jersey, 1992.
- Kindleberger, Elizabeth R, Charlotte Corday in Text and Image: A
Case Study in the French Revolution and Women's History, French
Historical Studies 18, no. 4 (1994): 969-999.
- Outram, Dorinda, The Body and the French Revolution: Sex, Class
and Political Culture, Yale University Press, New Haven, 1989.
- Whitham, John Mills, Men and Women of the French Revolution,
Books for Libraries Press, Inc., Freeport, New York, 1968.
 External links