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Provenant d'une importante collection particulière
FRANÇOIS BOUCHER (PARIS 1703-1770)
Vénus montrant la pomme de son triomphe aux dieux de l'Olympe
细节
FRANÇOIS BOUCHER (PARIS 1703-1770)
Vénus montrant la pomme de son triomphe aux dieux de l'Olympe
avec inscription 'F. Boucher' et numéroté '236' (sur le montage)
pierre noire, plume et encre brune, lavis brun, gris et rouge rehaussé de craie blanche
26,8 x 32,9 cm (10 5⁄8 x 13 in.)
Vénus montrant la pomme de son triomphe aux dieux de l'Olympe
avec inscription 'F. Boucher' et numéroté '236' (sur le montage)
pierre noire, plume et encre brune, lavis brun, gris et rouge rehaussé de craie blanche
26,8 x 32,9 cm (10 5⁄8 x 13 in.)
来源
Vente anonyme; Hôtel Drouot, Piasa, Paris, 25 Mars 2010, lot 127,
Acquis à cette vente par le propriétaire actuel.
Acquis à cette vente par le propriétaire actuel.
出版
A. Baron, 'Adjugé dessins anciens ', L'Objet d'Art, mai 2010, p. 87.
更多详情
FRANÇOIS BOUCHER, VENUS SHOWING THE APPLE OF HER TRIUMPH TO THE GODS OF OLYMPUS, BLACK CHALK,PEN AND BROWN INK, BROWN, GRAY AND RED WASH HIGHLIGHTED WITH WHITE
Although he won first prize at the Académie in 1723, he did not leave for Rome until 1728. On his return four years later, he was accepted into the Royal Academy and then became a history painter in 1734. Appointed professor in 1737, he received his first royal commissions. Boucher then established himself as one of the most popular decorators for Rococo palaces and Parisian mansions. He produced overdoor panels, allegories, tapestry cartoons for the Beauvais factory and several ceilings, including the Four Seasons cycle for the Council Chamber at the Château de Fontainebleau (“Le plafond de François Boucher au cabinet du conseil du château de Fontainebleau”, Revue du Louvre et des Musées de France, no. 4-5, 1967, figs. 3 to 6). In keeping with these monumental decorations, this bozzetto, oval in shape and inscribed within a rectangle, is a preparatory study for a ceiling. Unpublished until its appearance at the Piasa sale on 25 March 2010 (lot 127, see provenance), it was authenticated by the specialist Alastair Laing in a letter dated 25 November 2009. He compares it to an oil sketch on paper, Aeneas Presented to Olympus by Venus Renowned (fig. 1 Harvard Art Museums, inv. 2018.378; A. Laing, Les dessins de François Boucher, New York, 2003, no. 73). Dated 1747-1748, this study was painted at the height of Boucher's career.
Mythological subjects were Boucher's forte from the beginning of his career. For four decades, he produced a multitude of works centred on the stories, loves and traits of the gods, among which the figure of Venus occupies a prominent place, due to the eroticism and sensuality she embodies. This sheet illustrates the episode following the myth of the Judgement of Paris, as recounted by Apollodorus (Library, III, 12, 5-7). Excluded from the wedding of Thetis and Peleus, Eris, the goddess of discord, throws a golden apple bearing the inscription “to the fairest”. Tasked with deciding between the goddesses, Paris chooses Venus, seduced by the promise of Helen's love, and gives her the fruit. Boucher depicts the triumphant goddess presenting the trophy of her victory over her rivals, Juno and Minerva, to all of Olympus. This skillfully constructed sheet demonstrates great technical ambition. The celestial composition, organized in an ascending movement, is given hierarchy by dark, contrasting contours that accentuate the relief of the figures arranged in a semicircle around Venus. The central and upper areas, treated with generous highlights of white gouache and softer contours, highlight the goddess, bathed in sunlight emerging from behind Apollo's chariot and his rearing horses.
Amidst this profusion of clouds and cherubs, Venus, elevated to the heavens, brandishes the symbol of the consecration of beauty and love. The subject illustrates Boucher's attraction to the gallant themes of mythology, rather than heroic battles, and reveals all the splendor of the Baroque. This whirlwind of curves recalls the lyricism of Giovanni Battista Gaulli and the ceilings of his teacher François Lemoyne, a specialist in large decorative mythological compositions, such as the Apotheosis of Hercules (1736, Palace of Versailles, inv. 1850 2139). This scene provides the artist with an opportunity to display his talent as a draughtsman and colorist. The complexity and subtlety of the techniques used in this bozzetto are rare, bringing it close to one of the most impressive drawings of the period 1730-1735, The Separation of Laban and Jacob, which uses the same technique (Louvre Museum, inv. RF 39011).
The work will be included in the catalogue raisonné of A.Laing and L.-A. Demazure, currently in preparation.
Although he won first prize at the Académie in 1723, he did not leave for Rome until 1728. On his return four years later, he was accepted into the Royal Academy and then became a history painter in 1734. Appointed professor in 1737, he received his first royal commissions. Boucher then established himself as one of the most popular decorators for Rococo palaces and Parisian mansions. He produced overdoor panels, allegories, tapestry cartoons for the Beauvais factory and several ceilings, including the Four Seasons cycle for the Council Chamber at the Château de Fontainebleau (“Le plafond de François Boucher au cabinet du conseil du château de Fontainebleau”, Revue du Louvre et des Musées de France, no. 4-5, 1967, figs. 3 to 6). In keeping with these monumental decorations, this bozzetto, oval in shape and inscribed within a rectangle, is a preparatory study for a ceiling. Unpublished until its appearance at the Piasa sale on 25 March 2010 (lot 127, see provenance), it was authenticated by the specialist Alastair Laing in a letter dated 25 November 2009. He compares it to an oil sketch on paper, Aeneas Presented to Olympus by Venus Renowned (fig. 1 Harvard Art Museums, inv. 2018.378; A. Laing, Les dessins de François Boucher, New York, 2003, no. 73). Dated 1747-1748, this study was painted at the height of Boucher's career.
Mythological subjects were Boucher's forte from the beginning of his career. For four decades, he produced a multitude of works centred on the stories, loves and traits of the gods, among which the figure of Venus occupies a prominent place, due to the eroticism and sensuality she embodies. This sheet illustrates the episode following the myth of the Judgement of Paris, as recounted by Apollodorus (Library, III, 12, 5-7). Excluded from the wedding of Thetis and Peleus, Eris, the goddess of discord, throws a golden apple bearing the inscription “to the fairest”. Tasked with deciding between the goddesses, Paris chooses Venus, seduced by the promise of Helen's love, and gives her the fruit. Boucher depicts the triumphant goddess presenting the trophy of her victory over her rivals, Juno and Minerva, to all of Olympus. This skillfully constructed sheet demonstrates great technical ambition. The celestial composition, organized in an ascending movement, is given hierarchy by dark, contrasting contours that accentuate the relief of the figures arranged in a semicircle around Venus. The central and upper areas, treated with generous highlights of white gouache and softer contours, highlight the goddess, bathed in sunlight emerging from behind Apollo's chariot and his rearing horses.
Amidst this profusion of clouds and cherubs, Venus, elevated to the heavens, brandishes the symbol of the consecration of beauty and love. The subject illustrates Boucher's attraction to the gallant themes of mythology, rather than heroic battles, and reveals all the splendor of the Baroque. This whirlwind of curves recalls the lyricism of Giovanni Battista Gaulli and the ceilings of his teacher François Lemoyne, a specialist in large decorative mythological compositions, such as the Apotheosis of Hercules (1736, Palace of Versailles, inv. 1850 2139). This scene provides the artist with an opportunity to display his talent as a draughtsman and colorist. The complexity and subtlety of the techniques used in this bozzetto are rare, bringing it close to one of the most impressive drawings of the period 1730-1735, The Separation of Laban and Jacob, which uses the same technique (Louvre Museum, inv. RF 39011).
The work will be included in the catalogue raisonné of A.Laing and L.-A. Demazure, currently in preparation.
荣誉呈献
Hélène Rihal
Head of Department
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