The Gaoler's Daughter - A Scene from the French Revolution, 1858. Oil on canvas; 15 3/8 x 11 3/4 inches (38.8 x 29.7 cm). Private collection. [Click on the image to enlarge it.]
This painting was exhibited at the Royal Academy in 1858, no. 442. That same year Calderon exhibited a sketch of the picture at the Winter Exhibition of Ernest Gambart's The French Gallery at 120 Pall Mall in London. The principal version obviously proved to be a popular success when it was exhibited because it was one of the works selected by a prize-holder of the Art-Union of London. It was also favourably reviewed by the critics.
A reviewer for The Art Journal praised the figures, particularly the expression of the elder girl:
No. 442. The Jailer's Daughter – a Scene from the French Revolution, P. H. Calderon. The story is of the seizure and confinement of a young French priest during the Reign of Terror. He is seated on a bench, bowed down in affliction. The jailer, attended by his two daughters, has just visited him, and has deposited in his cell the usual allowance of bread and water: he is now departing, but the elder of the two girls contemplates with tearful emotion the grief of the young man, and is deaf to her little sister's importunity that she must now quit the place. The figures are well drawn; the lights and darks in the picture form an effective arrangement; and, above all, the sympathy of the girl is impressively described. [168]
A critic for The Illustrated London News felt Calderon had handled the composition well in order to express the personalities of the individuals involved: "The Gaoler's Daughter - A Scene from the French Revolution (442), by P. H. Calderon presents an effective group of personages, all influenced by diverse sentiments. Seated on the bench, near the prison door, is a young priest, whose turn it is to glut the madness of public wrath with his blood on the scaffold. The old, hard featured gaoler is already advancing to the door to open it, whilst his daughter, contemplating the interesting features of the hapless prisoner, cannot repress a gushing of compassionate feeling, biting a corner of her apron, whilst tears flow from her eyes. A small child, who feels nothing of the impart of what is going forward, laughs. The picture is well put together, and fairly painted" (518).
The Spectator, however, gave the painting only faint praise:
The Gaoler's Daughter - A Scene from the French Revolution, by Mr. Calderon is, and deserves to be, a popular picture. A handsome young priest, consigned to some Norman prison as an 'aristo,' has composed himself to slumber, watched lingeringly by the gaoler's gentle daughter, who can scarcely keep the tears from starting to her eyes. The gaoler looks like an English mechanic, not at all like a Frenchman, and the child who is twitching at the girl's dress to urge her away is inefficiently painted with a sentimental aim. The pose of the prisoner, and the good, sorrowful face of the girl, reach considerably higher than the average of such works: the painting is clear and approvable enough, but without any special point for notice or development. [555-56]
In contrast, the critic of The Saturday Review felt this was the best picture yet exhibited by Calderon: "The Gaoler's Daughter - a scene from the French Revolution, is much the best picture yet painted by Mr. Calderon, who, after a promising start, has done nothing but rubbish in the interval (Flora Macdonald's Farewell to Charles Edward, further on, is a dismal instance of it). The young imprisoned priest enjoying or courting slumber, and the silent interest of the heart-touched girl, are feelingly and quietly expressed" (503).
Bibliography
"Exhibition of the Royal Academy." The Illustrated London News XXXII (May 22, 1858): 517-19.
"Fine Arts. The Royal Academy Exhibition." The Spectato XXXI (May 22, 1858): 555-56.
"The Fine Art of 1858 – Oil-Pictures." The Saturday Review V (May 15, 1858): 500-06.
"The Royal Academy." The Art Journal New Series IV (June 1, 1858): 161-72 & 221.
Created 14 July 2023