ANNE-LOUIS GIRODET DE ROUCY-TRIOSON (MONTARGIS 1767-1824 PARIS) - photo 1
ANNE-LOUIS GIRODET DE ROUCY-TRIOSON (MONTARGIS 1767-1824 PARIS) - photo 2

ANNE-LOUIS GIRODET DE ROUCY-TRIOSON (MONTARGIS 1767-1824 PARIS)

Lot 101
26.03.2025 15:00UTC +01:00
Classic
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CHRISTIE'S
AuctioneerCHRISTIE'S
Event locationFrance, Paris
ID 1390040
Lot 101 | ANNE-LOUIS GIRODET DE ROUCY-TRIOSON (MONTARGIS 1767-1824 PARIS)
Estimate value
€ 40 000 – 60 000
ANNE-LOUIS GIRODET DE ROUCY-TRIOSON (MONTARGIS 1767-1824 PARIS)
Éole déchaîne les vents contre les vaisseaux troyens
pierre noire
26,6 x 40,8 cm (10 ½ x 16 1/8 in.)




Provenance

Vente après décès de l'artiste, Paris, 11 avril 1825, d'où acquis par
A.-C. Pannetier (1772-1859), jusqu'en 1859.
Collection La Bordes.
Vente ‘170 dessins de Girodet compositions pour l'Enéïde et les Georgiques de Virgile’; Paris, Hôtel Drouot, 15 avril 1867, lot 2.
Ambroise Firmin-Didot (1790-1876), puis par descendance.
Vente Artcurial, Paris, 23 mars 2017, lot 74, d'où acquis par le propriétaire actuel.




Literature

A. Stief, Die Aeneisillustrationen von Girodet-Trioson: Künstlerische und literarische Rezeption von Vergils Epos in Frankreich um 1800, Francfort, 1986, p. 315, n°2.
Dessiner l'Éneide, cat. exp., Montargis, musée Girodet, 1997, p. 44, n° 2.



Engraved

par F.-L. Dejuinne (1786-1844), Suite de compositions de Girodet, lithographiées d'après ses dessins par (...) ses élèves, publiée par M. Pannetier, Paris, 1827, p. II.



Further details

ANNE-LOUIS GIRODET DE ROUCY-TRIOSON, AEOLUS UNLEASHES THE WINDS AGAINST THE TROJANS SHIPS, BLACK CHALK

Written between 29 and 19 BC, Virgil's Aeneid recounts the ordeal of Aeneas, prince of Troy and mythical ancestor of the Roman people, from the capture of Troy to his settlement in Italy. The poem is divided into twelve songs and has been a recurring source of inspiration for artists and writers from antiquity to the present day.

From drawing to lithography: Girodet and Didot
Anne-Louis Girodet-Trioson, one of the most brilliant pupils of Jacques-Louis David (1748-1825), was inspired by Virgil's work throughout his life. In 1791, David commissioned Girodet and one of his other pupils, François Gérard (1770-1837), to produce a series of illustrations for the Aeneid, which were eventually lithographed and published in 1798 by Pierre Didot l'Aîné (1761-1853) (Girodet 1767-1824, exhib. cat., Paris, Musée du Louvre, Chicago, The Art Institute of Chicago, Montreal, Montreal Museum of Fine Arts, 2005-2007, p. 162).
Around 1810, Girodet went back to work on this subject, creating a series of 182 drawings to illustrate the story of Aeneas. Unfortunately, the project remained unfinished, as the artist died in 1824. This series bears little resemblance to the illustrations executed for David's commission, and presents a real stylistic break from those earlier drawings. Indeed, the meticulous modelling and detailed composition that marked the drawings of the 1790s are replaced here by a linear simplicity full of vivacity and spontaneity. The earlier drawings by Girodet are in the Metropolitan Museum in New York (inv. 1996.567), the Musée du Louvre (inv. RF 34729), the Nationalmuseum in Stockholm (inv. NM H 564/1971), the Museum of Fine Arts in Boston (inv. 1999.7) and the Musée Girodet in Montargis (inv. 71-33 and 72-3; ibid., nos 121-125).
The drawings in this second series, including the present one, are closely linked to the corresponding prints, and are full of precise indications intended for the interpreting artists. Did Girodet conceive his project as a series of illustrations intended to accompany a text, or rather as a volume of independent prints? This remains an unanswered question, since the prints inspired by his drawings did not emerge until after his death.

The lithographic enterprise as a posthumous tribute to the memory of Girodet
Thanks to Antoine-Claude Pannetier (1772-1859), a friend and pupil of Girodet who, in order to preserve his inheritance, bought the entire group of drawings during the artist's posthumous sale, 72 lithographs copied from the Virgilian series were produced in the years following the painter's death (out of the 182 drawings of the Aeneid left by Girodet at his death). Executed by François-Louis Dejuinne (1786-1844), the print that corresponds to the present drawing dates from 1827 (fig. 1).
The subject represented here is taken from the first part of the first book of the Aeneid. Juno, consumed with anger towards the Trojan people, calls for the destruction of Aeneas' fleet. To achieve her nefarious ends, she promises the god of the winds, Aeolus, to give him Deiopëa, the prettiest of her nymphs, in marriage if he releases the winds imprisoned by Jupiter and unleashes a raging storm on the Trojans. In the drawing, Juno presents Deïopëa to Aeolus on the right, while the vicious winds, free at last, are unleashed on the ships at the lower left.
The other two drawings representing the continuation of the story are the scene in which Aeneas' ship encounters its fate (Museum of Fine Arts, Boston; inv. 1999.7), and Neptune emerging from the ocean to order the winds to calm (Musée du Louvre; inv. RF 34729; ibid., nos 121, 122).
Thus, at the end of his life, Girodet gave primacy here to the artistic imagination and its poetic translation, willingly departing from the original text for a very dreamlike rendering of the Virgilian scenes. The inventiveness of this ensemble contributed greatly to his posthumous fame (ibid., p. 454).
With a prestigious provenance, the drawing was acquired by his friend Antoine Pannetier at the sale after Girodet's death, before entering the collections of the printer Ambroise Firmin Didot (1790-1876).
Sidonie Lemeux-Fraitot will include the present drawing in her forthcoming catalogue raisonné of Girodet's work.
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