André Devambez, the point of view of the highest window

The french painter and illustrator André Devambez was born in Paris, 1867 and died also in 1944, also in Paris. His most famous paintings were social-political scenes of moder street life. Frequently their works were painted from the point of view of the highest window of a building. Through that distance and in the security of his home, a neighbour looked at the dramatic scene -worry but safe-. That perspective is the modern point of view of a lot of citizens which are not involved in social issues but they are eyewitness of dramatic episodes of our urban life.

La Charge (The Police Charge), finished in 1902, is a Musée d'Orsay's painting about a confrontation between police and citizens in a street in Montmartre. Devambez achieved to show the archetype of the street confrontation between policemen and demonstrators. Police forces realize a perfect deployment against people. About these people, the painter didn't want to show their membership nor ideology because it could be anyone. The fierce and effective police prefect Chiappe had this painting in his office for a long time because it reflects perfectly the scene. Most of the features of Devambez style are there: high point of view, crowds without faces, lines face to face, urban borders, distance, risk or empty spaces in contrast with the density of crowds.

http://www.musee-orsay.fr/en/collections/works-in-focus/painting/commentaire_id/la-charge-7076.html?tx_commentaire_pi1%5BpidLi%5D=509&tx_commentaire_pi1%5Bfrom%5D=841&cHash=3c9c2d07a8

The Barricade, painted in 1911 shows the Parisian Commune and one of the famous barricade. Barricades are symbols of urban confrontations and demonstrations. Anew crowds and conflict urban borders are present. The paving stone is a relevant component of the painting and an icon of Parisian demonstrations.

http://www.mheu.org/en/timeline/barricade.aspx

1910 (Quai de Metro heure de pointe) Rush Hour Metro reflects the age of crowds and the risky modern life.

The 1915 illustration (Les tranchees) "Trenches" presents the lines of war in the First World War. The land is divided in sets because war and nobody has face: trenches are plenty of crowds. It is interesting to compare "Rush Hour Metro" (1910) and "Trenches" (1915): crowds are waiting, people are passing over the line, risk, anxiety..

In 1928, André Devambez painted the Salle Pleyel. Is it Social Art? The illustrator reflects some of his features: the high angle for the point of view, crowds without faces, distance, lines... Devambez is author of the new age of mass. Distance, division and risk are their worries.