JEAN-THOMAS THIBAULT (MONTIEN-EN-DER 1757-1836 PARIS)

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€ 20 000
Date de l'enchèreClassic
18.05.2022 14:30UTC +02:00
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CHRISTIE'S
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France, Paris
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ID 761417
Lot 73 | JEAN-THOMAS THIBAULT (MONTIEN-EN-DER 1757-1836 PARIS)
JEAN-THOMAS THIBAULT (MONTIEN-EN-DER 1757-1836 PARIS)Les chutes de Tivoli, un artiste au premier planmonogrammé en bas au centre 'J. T. T.'graphite, plume et encre noire, aquarelle, rehaussé de blanc sur papier marouflé sur toile et monté sur châssis63,3 x 85,4 cm (24 7⁄8 x 33 5⁄8 in.) Provenance Collection Boutet de Monvel ;Vente Hôtel Drouot, Paris, 14 octobre 2016, lot 115. Post lot text JEAN-THOMAS THIBAULT, THE FALLS OF TIVOLI, GRAPHITE, PEN AND BLACK INK, WATERCOLOUR HEIGHTENED WITH WHITE, MONOGRAMED Thibault likely painted this view of Tivoli’s waterfalls after 1792, upon his return to France, where he exhibited his Roman views in the Paris Salons of 1795 and 1796. A pair of similar watercolours, signed and depicting the Villa d’Este in Tivoli, are in the collection of the Museum of Fine Arts, Boston and dated 1793 (inv. 1982.448; inv. 1982.449). Thibault’s Roman period between 1786 and 1792 was determinant for his oeuvre, both as a painter and as an architect. A set of 130 studies in the collection of the Musée du Louvre, Paris (inv. 14228-14467; A; Ottani Cavina, ‘Jean-Thomas Thibault, paysages d’Italie (1786-1792)’, in De David a Delacroix. Du tableau au dessin, Actes des 11e rencontres internationales du Salon du Dessin, Mars 2016, dir. P. Rosenberg and L.-A. Prat, p. 67-68 ) – drawings and watercolours, sometimes signed and dated - document the artist’s intense period of stylistic research and fascination for the Roman countryside. In her paper discussing the graphic production of the artist during the Roman period, A. Ottani Cavino included Thibault into the Roman circle of David (op. cit., p. 66) and to its associated genre of ‘rational landscape’, where the image of the natural landscape is organised into pure and abstract geometrical shapes. Influenced by Thibault’s, architect and scenographer himself, close relationships with architects including Charles Percier or Etienne-Louis Boullée, this view of Tivoli’s waterfalls introduces a new projection of Rome which contrasts with the romantic and sepulchral representation spread out in Europe by Piranesi etchings. Upon his return to France, Thibault participated in various architectural projects including the decoration of the château de Neuilly, the Palais de l’Elysée or the ‘Salon doré’ du château de Malmaison, where the influence of his Roman period is evident.
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