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One of his best known pictures, dated 1868, "The Part of the Captain," in the Luxembourg Gallery, exemplifies these strongly; is an excellent example of the warmth and richness of his palette, and of the true painter's happy knack of refining the most atrocious subject. At the foot of a stake in the courtyard of the pillaged castle are flung down, indiscriminately, swords, tapestry, articles of jewelry and two women, — the captain's portion of the plunder. His followers, scattered around, regard the spoils with eyes of indifference, of covetousness, and of rage; it is the very vulgarity of war. Painted by M. Manet the scene would be insupportable; painted by M. de Beaumont it is a delight to the eye by its dramatic force, its glowing color and skillful design.
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—Earl Shinn, Etudes in Modern French Art, 1882
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It is a scene of riot and pillage, and a scene which we, who live in happier times, look on with disgust and dismay. But such scenes in times of war and anarchy, were of common occurrence. This picture is one of the grandest in the Luxembourg, and illustrates the artist's power in his best and strongest points, the rendering of the nude. The central attraction is the two female captives tied to a stake in the market-place, against which either the Captain or some witty friend has hoisted a rude advertisement, "La Part du Capitaine," and in the painting the bare pole is decorated with a palm-branch, the bright green leaves of which make a beautiful colour contrast with the yellow hair and flesh tints of the unfortunate girls. The tout-en-semble is all in keeping, although to the Captain has fallen the lion's share ; yet other prizes are evident. The duck hoisted aloft, the pig, red-eared and fat, tied by a string to the short trooper, who is stretching his short neck to get a look at the Captain's prize.
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—The masterpieces of French art illustrated : being a biographical history of art in France, from the earliest period to and including the Salon of 1882
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