The Apse of Notre-Dame, Paris ca. 1852–54 Charles Meryon Meryon was the first nineteenth-century French etcher to make the Parisian cityscape his primary focus. This is the final preparatory drawing that he made for an etching of the same title (; ; ; ), as part of his suite of twenty-two prints entitled "Eaux-fortes sur Paris" (Etching on Paris). With a precise graphite line, Meryon details all that compositional elements of his design and he remained faithful to it in translating the drawing to the etching plate. Executed approximately midway through a twen

The Apse of Notre-Dame, Paris ca. 1852–54 Charles Meryon Meryon was the first nineteenth-century French etcher to make the Parisian cityscape his primary focus. This is the final preparatory drawing that he made for an etching of the same title (; ; ; ), as part of his suite of twenty-two prints entitled "Eaux-fortes sur Paris" (Etching on Paris). With a precise graphite line, Meryon details all that compositional elements of his design and he remained faithful to it in translating the drawing to the etching plate. Executed approximately midway through a twenty-year restoration of Notre Dame, the work gives little indication of the renovation underway. It shows the cathedral as it looked prior to the completion of the spire in The Apse of Notre-Dame, Paris. Charles Meryon (French, 1821–1868). ca. 1852–54. Graphite. Drawings

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