[7] Vigneron embraced a sentimental and melancholic style with his genre paintings, reflecting the transition from the classicism of Jacques-Louis David to the romanticism of Eugène Delacroix.

His preferred subjects included themes of sorrow and misfortune, such as tombs, coffins, abandoned children, military tribunals, and the perils of vice and gambling.

[7] In 1817, he painted Les apprêts d'un mariage (The Preparations for a Wedding) with the lithograph done by Julien Vallou de Villeneuve and printed by Charles Étienne Pierre Motte.

[1] Vigneron also reproduced military scenes originally created by Jean-Henri Marlet, including notable works such as the Duke of Berry's assassination, among other prints.

[7] He presented his work illustrating Charles, Duke of Berry "receiving the aid of religion" on 14 February 1820, published by French lithographer François-Séraphin Delpech.

[16] The scene bore a resemblance to a Marlet work from 1810, which depicted a medical professor checking the pulse of a sick man lying in a hospital bed.

The young man dies in the arms of his two witnesses, while his ruthless opponent, rather than offering aid, coldly wipes his bloodied sword before retreating.

[1] At the 1822 Salon, in addition to the painting of The Duel, Vigneron exhibited his works: Le Soldat laboureur, Une mère forcée par la misère d'abandonner son enfant, and the fourth, Exécution militaire.

[19] C. P. Landon wrote that the scene, likely suggested by Charles-Émile-Callande de Champmartin, portrayed "a gambler whose fate has taken away his last resources and who has just hanged himself in his attic where there are only the four walls, the floor is strewn with dice and torn cards".

[12] The artworks Convoi du Pauvre, Exécution militaire, and Une mère forcée par la misère d abandonner son enfant were given to the Duke of Choiseul in 1824.

[1] Lithographic portrait series showcasing dramatic artists, famous painters, doctors, and other key figures were among Vigneron's published works.

[8] Later in his career, Vigneron shifted toward portraiture, drawing inspiration from artists like Achille Devéria and François Grenier de Grevedon.