Construction of an Elevated Railway: Bridge over the Cours de Vincennes1888 · Study 1980.289

Context from the museum

Conceived in 1851, after Napoleon III came to power, the railway encircling Paris was intended to transport merchandise and, eventually, passengers. The railway represented a new convenience, but measures were needed to ensure the safety of other traffic. The numerous railway crossings included in the initial plans turned out to be a source of fatal accidents. To remedy the problem, the platforms and retaining walls were to be raised at the most dangerous spots. The Cours de Vincennes, in the eastern part of Paris, had been one of the deadliest intersections. The work on an elevated railway bridge over this street, which is depicted here, was completed in February 1889. Trouillebert concentrated on portraits until about 1881, when he began to focus on landscapes. He also painted everyday scenes and nudes. He was commissioned by Edme Piot, a public works contractor, to paint this and four related views of the Paris railway construction.

Museum description reproduced from its CC0 open-access record. Read the original catalog entry.

Read the dimensions before the image

The selected unframed measurement for Construction of an Elevated Railway: Bridge over the Cours de Vincennes is 56 cm wide and 38.2 cm high, equivalent to approximately 22.0 × 15.0 inches. Dividing width by height gives a format ratio of 1.47:1. The rectangular bounding area is 0.21 square meters; it describes the measured footprint, not the amount of paint or the monetary value.

On an illustrative 300 cm wall, the recorded width occupies 18.7% of the span before adding a frame. A centered placement leaves approximately 122.0 cm on each side before adding a frame. These are calculations by Physical Art For Crypto using museum measurements. They are not the museum’s display recommendations.

Questions to bring to your own collection

With Construction of an Elevated Railway: Bridge over the Cours de Vincennes in view, identify one feature you can point to, then distinguish what the museum records from your personal response. Keep its medium, oil on fabric, in your notes when comparing contemporary works.

• Which part of this horizontal composition catches your eye first?
• Would a 56 cm width still suit the space after allowing for furniture and a frame?
• What surface detail would you need to see in person or in a close photograph?