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| François-Marius Granet Versailles - Gate in the Park 1837 drawing, with watercolor Musée du Louvre |
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| François-Marius Granet Versailles - l'Orangerie Staircase 1838 drawing, with watercolor Musée du Louvre |
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| François-Marius Granet View from Granet's window at the Institut in Paris (workers building a house) 1836 drawing, with watercolor Musée du Louvre |
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| François-Marius Granet Sculptor fashioning a Bust of Madame Granet with Monsieur Granet looking on 1842 drawing, with watercolor Musée du Louvre |
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| François-Marius Granet Domenichino before Cardinal Aldobrandini (sketch) before 1849 drawing Musée du Louvre |
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| François-Marius Granet Domenichino before Cardinal Aldobrandini before 1849 drawing, with watercolor Musée du Louvre |
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| François-Marius Granet Nicolas Poussin with others in Rome viewing paintings by Guido Reni and Domenichino 1843 drawing Musée du Louvre |
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| François-Marius Granet Nicolas Poussin in his Studio painting a Landscape 1842 drawing, with watercolor Musée du Louvre |
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| François-Marius Granet Andrea Pozzo painting, while fellow Jesuits observe before 1849 drawing, with watercolor Musée du Louvre |
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| François-Marius Granet Queen Victoria with Louis-Philippe in the Church Crypt at Château d'Eu ca. 1843 drawing, with watercolor Musée du Louvre |
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| François-Marius Granet Dying Father exhorting Sons to protect their Young Brother before 1849 drawing, with watercolor Musée du Louvre |
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| François-Marius Granet Stoning of Stephen 1837 drawing, with watercolor Musée du Louvre |
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| François-Marius Granet Chapter Meeting of the Templars in 1147 ca. 1841 drawing, with watercolor Musée du Louvre |
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| François-Marius Granet Image of the Virgin displayed by an Angel to Prisoners 1842 drawing, with watercolor Musée du Louvre |
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| François-Marius Granet Baptism of the Duc de Chartres in the Chapel at the Tuileries 1840 drawing Musée du Louvre |
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| François-Marius Granet Ash Wednesday in a Church in Rome 1844 drawing, with watercolor Musée du Louvre |
"The word 'chic' – a dreadful word of modern invention, which I do not even know how to spell correctly (somewhere or other, Balzac spells it 'chique'), but which I am obliged to use, because it has been sanctioned by artists in order to describe a modern monstrosity – the word 'chic' means total neglect of the model and of nature. The 'chic' is an abuse of the memory; moreover it is a manual, rather than an intellectual, memory that it abuses – for there are artists who are gifted with a profound memory for characters and forms – Delacroix or Daumier, for example – and who have nothing to do with it. The 'chic' may be compared with the work of those writing-masters who, with an elegant hand and a pen shaped for italic or running script, can shut their eyes and boldly trace a head of Christ or Napoleon's hat, in the form of a flourish. . . . MM. Granet and Alfred Dedreux are two more vignette-makers and great adorers of the 'chic'. But they apply their capacities of improvisation to very different genres – M. Granet to the sphere of religion, and M. Dedreux to that of smart life. The first does monks, and the second horses; the first is dark in colour, the second is bright and dazzling."
– from The Salon of 1846, published in Art in Paris, 1845-1862: Salons and Exhibitions reviewed by Charles Baudelaire, translated and edited by Jonathan Mayne (London: Phaidon Press, 1965)