As I continued my journey as a flaneur during my final days in Paris, I came across many familiar faces. At Musee D’orsay, I saw several images of Fantine during her time of struggle. “La Misère, etude pour Famine” by Gustave Guillaumet is a clear depiction of her lifestyle with Cosette. I am instantly reminded of book five: The Descent. Hugo describes Fantine’s journey to her death that is filled with sorrow, sacrifice, and heartbreak. He states, “The further she fell and the darker everything around her became…. Fantine had aged 10 years since the day before.” (169). Drawn in chiaroscuro, the darkness of the piece is a true reflection of the period in her life. Fantine is laying down exhausted as the day has come to an end. The woman’s clothes are like rags hanging off her body, like those of Fantine when she is described as a “seamstress reverting to a peasant again…a poor and sorry sight.” (137). The placements of light in her sternum and breast show the frailness of her body. The dark shadows placed within her face (eyes, nose, and cheek) show the distress she is in. The way Guillaumet paints her eyes staring directly into the viewer is truly powerful. It shows that she once was a beautiful woman who has been torn down by life. Seeing the infant child attempt to grasp onto her mother’s breast reminds of what Cosette might have endured before Fantine gave her to the Thenadiers. Furthermore, adding to the point above Guillament’s use of lighting shows how famished the child is. It is like you can almost see her bones shining through. This painting is such a powerful depiction of Fantine through Hugo’s lens.

The next painting, I saw was at Musee D’orsay and a picture of a battlefield. This both reminded me of the Battle of Waterloo in Les Misérables and the Reign of Terror in A Tale of Two Cities. Unfortunately, I did not get the name of the artist, but their work was during the 1700-1800’s. The composition of this painting tells a story from beginning to end. At the top of the painting in shades of purple, brown, and gray depict a group beginning a battle with flags waving in the air. Being still and motionless, they are like a heavy cloud hanging above. Looking up they are fearless like Characters of Dicken’s such as Madame Defarge, Mender of Roads, and the man who killed Monsieur. As we start to look below, there is a field of dead men covered in blankets. Their swords are left untouched while there is a faint fire burning in the distance within the men. I am reminded of the sunken trenches; many soldiers lost their lives as well as the number of men that had to be buried. I briefly want to talk about the painting directly under this one, which is done by the same artist. This painting is in close relation with the Reign of Terror. Set in a town, dead bodies of all people fill the ground. The houses are missing windows, paint, anything once could imagine. Surrounded by dark clouds, the space is filled with pure destruction. One thing that struck me the most was a single religious cross standing on a table. Out of all the chaos, this piece symbolizing faith is the only thing that has survived. I believe this is key because France is heavily influenced by Catholicism. I think about all the chapels we visited.

The final piece I’d like to discuss is Atala Portee Au Tombeau by Girodet-Trioson, found in the Louvre. I chose this painting because it reminded me of Jean Valjean and Marius’s long battle over the love of Cosette. Trioson paints a woman being held by two men on each side of her like a seesaw. The woman is angelic as she lays between the two. She is covered in a white cloth with her hands clasped signaling contentment. At one end the young man is holding her at her feet. Taking a closer look at his face, the lighting shows he is in despair. His eyes are closed, and forehead frowned as he grasps on to her for dear life. One could compare this to Marius’s great depression he faces when Jean Valjean stops bringing Cosette to the park. Furthermore, the placement of this young man mentioned above can be a symbol of marriage. Traditionally, when one is proposed to, their partner gets on one knee. His placement is a clear depiction of his unwavering love for this woman, it will break his soul to lose her. On the other side of the spectrum, the older gentleman is holding her by her arms, making sure her neck is stable. To some extent, one could argue this is a position of a caregiver. When bringing home, a child for the first-time doctors tells parents to make sure their hand and neck are supported. In my opinion, this man is Jean Valjean. Thinking of Hugo’s various descriptions of him, the first one that comes to mind is when he arrives at the Thenardiers in his long-hooded yellow coat. Currently is the start of his journey to fatherhood and love for the young child. In this painting, I see him doing just that, holding onto the love he felt, scared he will lose it to this young man. Furthermore, looking at the woman caught between these two men, I think of the internal battle Cosette faced. In Trioson’s painting one could infer that the woman is dead, however in my interpretation it is a reflection Cosette’s soul. As written by Hugo, her life is full of tragedies. She is now caught between two men she loves: Father and lover. At first Jean Valjean moves her away from Marius twice, next Marius stops Valjean from seeing her once they are married. Constant mishaps continue to happen to her, yet she is written in a way that her feelings do not matter like Lucie of A Tale of Two Cities.

As I end my journey as a flaneur, I am amazed at Paris’s beauty. It is a place rich in culture ranging from art, food, and religion. History is everywhere! Reading Les Misérables and A Tale of Two Cities helped me realize what this great city has to offer besides of tourist attractions. If I did not embark on this journey, I would have never viewed art through literary lens. It has been such an amazing experience for me.