JACQUES-ANDRÉ-JOSEPH AVED (DOUAI 1702-1766 PARIS) - photo 1

JACQUES-ANDRÉ-JOSEPH AVED (DOUAI 1702-1766 PARIS)

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€ 226 800
Auction dateClassic
18.05.2022 14:30UTC +02:00
Auctioneer
CHRISTIE'S
Event location
France, Paris
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ID 761310
Lot 222 | JACQUES-ANDRÉ-JOSEPH AVED (DOUAI 1702-1766 PARIS)
JACQUES-ANDRÉ-JOSEPH AVED (DOUAI 1702-1766 PARIS)Jeune fille dessinant dit 'La dessineuse'huile sur toile, sur sa toile d'origine, sans cadre55,5 x 46 cm (22 x 18 in.) Provenance Collection du peintre Jacques-André-Joseph Aved (1702-1766) ; puis par descendance à Abel Cournault (1856-1939), arrière-petit-fils du peintre, Malzéville, France, 1922 ; puis par descendance aux actuels propriétaires. Literature A. Darcel, 'Exposition rétrospective de Nancy', Gazette des Beaux-Arts, 1875, 2e période, 12, p. 274. A. Bray, La peinture à l'exposition rétrospective de Nancy, Nancy, 1875, p. 191. C. Cournault, 'Note sur J. A. J. Aved', Réunion des sociétés savantes des beaux-arts des départements à la Sorbonne, 1880, troisième session, p. 107. G. Wildenstein, Le peintre Aved. Sa vie et son oeuvre. 1702-1766, Paris, 1922, II, p. 120 et p. 172, n°169, reproduit en noir et blanc p. 173. Exhibited Nancy, hôtel de ville, Catalogue des tableaux et objets d'art exposés au profit des Alsaciens-Lorrains émigrant en Algérie, 1875, n°8 (comme 'Jeune fille dessinant'). La Tour-Maubourg, Fédération Française des Artistes, Exposition de quatre portraitistes du XVIIIe siècle, 26 janvier- 13 février 1930, n°5 (comme 'La dessineuse'). Post lot text JACQUES-ANDRÉ-JOSEPH AVED, A YOUNG GIRL DRAWING, KNOWN AS 'LA DESSINEUSE', OIL ON CANVAS, UNLINED, UNFRAMEDNo other period devoted itself to childhood as the 18th century did. No longer considered a laborious stage between birth and adulthood, in the 18th century the child grows to encapsulate and personify the era’s theories and hopes. In Émile and La Nouvelle Héloïse, Rousseau (1712-1778) describes childhood as the time of the awakening of one’s sensibility and sense of aesthetics, in the same way that for Bernardin de Saint-Pierre (1737-1814) adolescence is a period of love and sensuality. It is at this time that new modes of representation associated with specific periods in childhood are articulated and codified. This same codification occurs with gender, as girls and boys come to symbolize different ambitions. Well-mannered and focused, our young child meets the expectations imposed on young girls at the time. Focused on the task at hand, she is imperturbable and seems to have forgotten the painter. The theme of childhood is an opportunity for artists to represent the intimate, a theme which is increasingly being explored as a result of the time’s shifting tastes. The adult-to-be is already displaying characteristics of a grown woman; the apron of her checkered dress is reminiscent of a bodice and her black velour, or silk, neckband was particularly popular in the 1750’s. Her haircut is also evocative of children in the 18th century and is reminiscent of the Fillette aux nattes, a sculpture by Jacques François Joseph Saly (1717-1776), which set a real trend in young girl’s hairstyle in the 1750’s.Despite these mature details, our model maintains a marvelous innocence. In the middle of the 18th century, portraits of children often come to incarnate ideas of the vanities of a bygone time, thus personifying the passage of an irretrievable time. In Chardin’s (1699-1779) paintings children contemplate their spinning tops they will soon stop playing with, already dressed in silken clothes with their ponytails pulled and powdered, and our model is drawing with a sanguine a dragoon’s helmet, complete with crest, faintly evoking the violence of the adult world. As the daughter of Élisabeth Louise Vigée Le Brun (1755-1842), Julie (1780-1819), once did when looking at her naïve reflection in the mirror, soon to return the image of a woman, the presumed niece of the painter is enjoying the final, precious, moments of her childhood. The artistic emulation between Chardin and Aved (1702-1766) is particularly noticeable in this painting. Aved already had several pictures by the former in his collection, such as La nature morte au canard et à l’orange bigarade (Paris, musée de la chasse et de la nature) whilst it is said that Chardin begun painting genre scenes, with his composition of a woman drawing water from a fountain (La Fontaine, Stockholm, Nationalmuseum), following Aved’s teasing remark that still lifes were easier to paint than portraits. It is not without a sense of irony then that Aved’s talent as a portraitist was to be eclipsed by his friend’s, with paintings from the former being misattributed to Chardin as late as the end of the 19th century. Most famous of which is Aved’s Portrait de Madame Crozat (Montpellier, musée Fabre) which was considered to be by the hand of his friend up until 1896 ! Such was the influence of the two artists on one another that it led the Goncourt brothers to postulate that the portraits in Chardin’s genre scenes were in fact by the hand of Aved. Whilst particularly whimsical, this hypothesis does testify to their mutual influence; whilst Aved emulated the ineffable calm of Chardin’s pictures, Chardin was greatly inspired by Aved’s precision in the rendering of expressions.
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