PIERRE-PAUL PRUD’HON (CLUNY 1758-1823 PARIS) - photo 1
PIERRE-PAUL PRUD’HON (CLUNY 1758-1823 PARIS) - photo 2
PIERRE-PAUL PRUD’HON (CLUNY 1758-1823 PARIS) - photo 3

PIERRE-PAUL PRUD’HON (CLUNY 1758-1823 PARIS)

Lot 89
20.03.2024 15:00UTC +01:00
Classic
Sold
€ 35 280
AuctioneerCHRISTIE'S
Event locationFrance, Paris
Archive
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Archive
ID 1172934
Lot 89 | PIERRE-PAUL PRUD’HON (CLUNY 1758-1823 PARIS)
Estimate value
€ 30 000 – 50 000
PIERRE-PAUL PRUD’HON (CLUNY 1758-1823 PARIS)

Le Père éternel

pierre noire, plume et encre noire, rehaussé de peinture à l'huille ocre jaune et blanche, sur papier préparé gris, l'angle inférieur gauche coupé et recollé

23,2 x 32,5 cm (9 1⁄8 x 12 ¾ in.)





Provenance

Collection Laperlier, Paris; sa vente, 11-13 avril 1867, lot 86 (90 francs à Pils).

Isidore Pils, Paris; sa vente 20 mars 1876, lot 1132.

Collection Vitet, Paris.



Literature

E. de Goncourt, Catalogue de l’œuvre peint, dessiné et gravé de P.-P. Prud’hon, Paris, 1876, p. 82

A. Forest, Pierre-Paul Prud’hon (1758-1823), Paris, 1913, n° 154.

J. Guiffrey, ‘L’œuvre de Pierre-Paul Prud’hon’, Archives de l’art français, XIII, 1924, n° 274.



Exhibited

Paris, École des beaux-arts, Exposition des œuvres de Prud’hon au profit de sa fille, mai 1874, n° 154.



Further details

PIERRE-PAUL PRUD’HON, GOD THE FATHER, CHARCOAL, BLACK CHALK, PEN AND BLACK INK, HEIGHTENED WITH YELLOW AND WHITE BODYCOLOUR, ON GREY PREPARED PAPER, LOWER LEFT CORNER CUT

Although Prud’hon began his career at the École gratuite de dessin (free drawing school) in Dijon in the 1770s, he soon moved to Paris in 1780 for three years before leaving for Rome. Prud’hon’s few religious works date from the beginning of his career, around 1783-1784, when he stayed in Paris and Dijon, and from his early days in Rome, when he discovered the works of Raphëal and Michelangelo. According to Sylvain Laveissière, these were the last religious scenes Prud’hon painted before devoting himself to allegories (Femmes de l'Ancien Testament. Peintures et dessins des collections publiques françaises, exhib. cat., Nice, Musée Chagall, 1999, no. 11, ill.).
The figure of the Creator in the present drawing is part of a wider iconographic repertoire of the artist, including a painting depicting God rebuking Adam and Eve after the Sin, formerly in the collection of Henri Rouart (Paris, 9-11 December 1912, lot 64). The composition as a whole is known from two drawings, one in the Musée des Beaux-arts in Dijon, depicting Adam and Eve standing, frightened to discover their nakedness (Guiffrey, op. cit., no. 271); the other formerly in the Gilbert-Lévy collection, depicting Adam and Eve collapsed on the ground (Hôtel Drouot, Paris, 6 May 1987, lot 87; see Guiffrey, op. cit., no. 272).
Another canvas painted in the same vein represents God in the clouds, supported by three spirits (Musée des Beaux-Arts, Dijon, inv. CA. 702; see S. Laveissière, Prud’hon ou le rêve du bonheur, exhib. cat., Paris, Galeries Nationales du Grand Palais, and New York, The Metropolitan Museum of Art, 1998, no. 12, ill.). Sylvain Laveissière proposes to date the present drawing, which is quite atypical in the artist’s graphic production, between 1785 and 1788, while he was in Rome (oral communication, February 2024).
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