DISCOVERART

Guillaume-Benjamin-Amand Duchenne de Boulogne|Adrien Tournachon

French, 1806–1875|French, 1825–1903 · 48 works on DiscoverArt

Works

Figure 83: Lady Macbeth, ferocious cruelty
Figure 83: Lady Macbeth, ferocious cruelty1854–56, printed 1862
Figure 81: Lady Macbeth, moderate expression of cruelty
Figure 81: Lady Macbeth, moderate expression of cruelty1854–56, printed 1862
Figure 10: Showing the expressive lines of m. frontalis in a young girl
Figure 10: Showing the expressive lines of m. frontalis in a young girl1854–56, printed 1862
Figure 26: Expression of painful attention and attention, attentive gaze.
Figure 26: Expression of painful attention and attention, attentive gaze. 1854–56, printed 1862
Figure 15: Mediation, mental concentration
Figure 15: Mediation, mental concentration1854–56, printed 1862
Figure 54: Voluntary lowering of the lower jaw
Figure 54: Voluntary lowering of the lower jaw1854–56, printed 1862
Figure 27: Expression proportionally more pained
Figure 27: Expression proportionally more pained1854–56, printed 1862
Figure 82: Lady Macbeth, strong expression of cruelty
Figure 82: Lady Macbeth, strong expression of cruelty 1854–56, printed 1862
Figure 50: Affected weeping and face in repose
Figure 50: Affected weeping and face in repose1854–56, printed 1862
Figure 36: Scornful laughter and scornful disgust
Figure 36: Scornful laughter and scornful disgust1854–56, printed 1862
Figure 75: Nun saying her prayers
Figure 75: Nun saying her prayers1854–56, printed 1862
Icono-photographique. Mécanisme de la Physionomie Humaine. Fig. 65
Icono-photographique. Mécanisme de la Physionomie Humaine. Fig. 651854–56, printed 1862
Figure 17: On the right, electrization of m. procerus: severity, aggression. On the left: attention.
Figure 17: On the right, electrization of m. procerus: severity, aggression. On the left: attention. 1854–56, printed 1862
Figure 3: The face of an old man... photographed in repose.
Figure 3: The face of an old man... photographed in repose.1854–56, printed 1862
Faradisation du muscle frontal
Faradisation du muscle frontal1854–56, printed 1862
Figure 63: Expression of terror
Figure 63: Expression of terror1854–56, printed 1862
Figure 18: Aggression, wickedness
Figure 18: Aggression, wickedness1854–56, printed 1862
Figure 4: The face in repose of a young man
Figure 4: The face in repose of a young man 1854–56, printed 1862
Figure 62: Terror, semiprofile
Figure 62: Terror, semiprofile1854–56, printed 1862
Figure 57: Astonishment, stupefaction, amazement
Figure 57: Astonishment, stupefaction, amazement1854–56, printed 1862
Figure 78: Scene of coquetry
Figure 78: Scene of coquetry1854–56, printed 1862
Figure 25: Not an expression of pain
Figure 25: Not an expression of pain1854–56, printed 1862
Figure 16: Expression of severity
Figure 16: Expression of severity 1854–56, printed 1862
Figure 73: Head of Niobe
Figure 73: Head of Niobe1854–56, printed 1862
Figure 47: A suggestion of this same weeping
Figure 47: A suggestion of this same weeping1854–56, printed 1862
Figure 60: Fright
Figure 60: Fright1854–56, printed 1862
Figure 24: Extreme pain to the point of exhaustion, the head of Christ and memory of love or ecstatic gaze.
Figure 24: Extreme pain to the point of exhaustion, the head of Christ and memory of love or ecstatic gaze. 1854–56, printed 1862
Figure 21: Painful recollection and recollection or calling something to mind
Figure 21: Painful recollection and recollection or calling something to mind 1854–56, printed 1862
Figure 71: Same head as in Plate 70
Figure 71: Same head as in Plate 701854–56, printed 1862
Figure 66: Head of Arrotino (the spy, the knife grinder, and so on)
Figure 66: Head of Arrotino (the spy, the knife grinder, and so on)1854–56, printed 1862
Figure 45: Pain and despair.
Figure 45: Pain and despair. 1854–56, printed 1862
Figure 12: A study of the contraction of and the expression produced by the superior part of m. orbicularis oculi
Figure 12: A study of the contraction of and the expression produced by the superior part of m. orbicularis oculi 1854–56, printed 1862
Figure 55: Astonishment badly rendered by the subject: a ridiculous and inane expression.
Figure 55: Astonishment badly rendered by the subject: a ridiculous and inane expression. 1854–56, printed 1862
Figure 56: Surprise
Figure 56: Surprise1854–56, printed 1862
Figure 20: Profound suffering, with resignation
Figure 20: Profound suffering, with resignation1854–56, printed 1862
Figure 70: Head of the Laocoön of Rome
Figure 70: Head of the Laocoön of Rome1854–56, printed 1862
Figure 39: The attention attracted by an object that provokes lascivious ideas and desires.
Figure 39: The attention attracted by an object that provokes lascivious ideas and desires. 1854–56, printed 1862
Figure 42: Gaiety expressed by the ideas of lustfulness, cynicism, and lewdness.
Figure 42: Gaiety expressed by the ideas of lustfulness, cynicism, and lewdness. 1854–56, printed 1862
Figure 34: Grimace
Figure 34: Grimace1854–56, printed 1862
Figure 19: Suffering
Figure 19: Suffering1854–56, printed 1862
Figure 53: Whimpering and false laughter
Figure 53: Whimpering and false laughter1854–56, printed 1862
Figure 6: The grimice produced is similar to a tic of the face
Figure 6: The grimice produced is similar to a tic of the face 1854–56, printed 1862
Figure 48: Mild weeping, pity and feeble false laughter
Figure 48: Mild weeping, pity and feeble false laughter 1854–56, printed 1862
Figure 49: Painful weeping and forward looking.
Figure 49: Painful weeping and forward looking.1854–56, printed 1862
Figure 8: Contraction of the right m. frontalis.
Figure 8: Contraction of the right m. frontalis. 1854–56, printed 1862
Figure 22: No painful expression
Figure 22: No painful expression 1854–56, printed 1862
Figure 9: A study of m. frontalis in maximum contraction
Figure 9: A study of m. frontalis in maximum contraction1854–56, printed 1862
Figure 52: Voluntary retraction of the lower lip
Figure 52: Voluntary retraction of the lower lip1854–56, printed 1862

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