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The rag-and-bone man's round

It was the proliferation of printing that made the ragpicker's fortune: the paper industry was in need of increasing amounts of cloth. Cotton and linen were highly sought after. From the 18th century onwards the export of cloth was taxed and was even prohibited in the 19th century! The other treasure of the street was bones, for these had many uses. "Animal charcoal" or "bone black" was extracted for use in refining sugar beet for the rapidly expanding sugar industry. It was made into buttons, combs and knife handles. It was used to make gelatin and glues. It was used as fertilizer. Last but not least, phosphate was extracted from bones for the manufacture of matches.

In addition, the ragpicker collected glass, cork, all kinds of metal, leather and even bread!

Cigar ends

Almost all the unclassified small industries are a triumph of the imagination fired by gnawing hunger pangs. The first person who picked up a cigar end on the street, then two, then three, and having chopped them all up, sold the resulting compound as smoking tobacco, did not take up this unusual profession deliberately like you do that of manager or concierge. It was chance, the need to eat and potential rich pickings that drove him to this career.

He then made this reasoning based on statistics: every day in Paris at least three hundred thousand cigars are smoked; there must therefore be, somewhere, especially under the pavement tables of boulevard cafés, three hundred thousand cigar ends. The prospects were good; he glimpsed a large-scale operation, took on partners, and there you have yet another manufacturer, a manufacturer of forbidden tobacco!

Extract from Les petites industries by Edmond Texier in Paris-Guide / par les principaux écrivains et artistes de la France, 1863

Chiiiiiiiiffonnier !

Chiiiiiiiiffonnier !

The ragpicker's badge

The ragpicker's badge

A guild

A guild

A philosopher

A philosopher

The rag-and-bone man's round

The rag-and-bone man's round

Bad times for the rag-and-bone men

Bad times for the rag-and-bone men

The "fortifs" and the "zone"

The "fortifs" and the "zone"

The ragpickers' territory

The ragpickers' territory

Les Chiffonniers d'Emmaüs

Les Chiffonniers d'Emmaüs

Jopie Huisman, ragpicker-painter

Jopie Huisman, ragpicker-painter

Modern times

Modern times

Passage du puits-bertin, Paul Signac, 1887.
Passage du Puits-Bertin (Clichy)

The Passage du Puits-Bertin, in Clichy, is beside a gasworks and its seven gasholders were immortalized by Georges Seurat in 1883, by Van Gogh in 1887, and by Paul Signac in 1886.

In this drawing, dated 1886, you see, standing on either side of a house, two of the factory's gas tanks, and a third one half-hidden by the house. The work, no doubt done from a photograph, therefore shows a slightly off-centre viewpoint to the right in relation to the painting Les Gazomètres à Clichy (Gasometers at Clichy) painted the same year. Here it was no longer a matter of the color theory which influenced Seurat in the development of pointillism. Signac applied the approach to drawing and the points (black lead and ink) create an accumulation of contrasts of gray, just like on a photographic image.

Paul Signac

This son of well-to-do merchants, born in Paris on November 11, 1863, quickly developed a passion for Impressionist painting, especially the work of Monet. He began to teach himself in 1882 and spent time with Pissarro, but it was his meeting with Georges Seurat in 1883 that would permanently influence his art. Seurat was then beginning his Un Dimanche à la Grande Jatte (Sunday Afternoon on the Island of La Grande Jatte), the painting in which he perfected his pointillist approach. Signac, fascinated, adopted the same approach, mingling it with the naturalism of Caillebotte (who taught him to sail), founded the Society of Independent Artists (1884) and, after Seurat's premature death (1891), became the master of divisionism which he expounded in an essay (1898), From Eugène Delacroix to New-Impressionism.

Towards the end of the century his touch became broader and freer, and less methodical. He moved to Saint-Tropez, where he invited Matisse to visit him in 1904. He painted seascapes, landscapes and the ports which he saw on his many sea voyages which took him to Venice, the then Constantinople (now Istanbul), Rotterdam and London. Living in Antibes in 1913, he painted mostly in watercolor. He died of septicemia in Paris on August 15, 1935.

© RMN (Musée d'Orsay) / Michèle Bellot