FRANÇOIS PERRIER (PONTARLIER VERS 1594-1650 PARIS)

Лот 188
18.05.2022 14:30UTC +01:00
Classic
Продан
€ 78 120
AuctioneerCHRISTIE'S
Место проведенияФранция, Paris
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Аукцион завершен. Ставки на лот больше не принимаются.
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ID 761354
Лот 188 | FRANÇOIS PERRIER (PONTARLIER VERS 1594-1650 PARIS)
Оценочная стоимость
€ 50 000 – 70 000
FRANÇOIS PERRIER (PONTARLIER VERS 1594-1650 PARIS)Scène de sacrifice d'un roi, peut-être le châtiment de Lycurguehuile sur toile, réduit de son format d'origine142 x 132,5 cm (56 x 52 1⁄2 in.) Provenance Peut-être collection G. Fricx, Belgique, avant 1775 ; peut-être sa vente, Bruxelles, 14 juillet 1775, lot 11 (comme 'Un sacrifice païen (...) par un disciple de Simon Vouet').Collection particulière, New York, États-Unis.Vente Christie's, New York, 23 janvier 2004, lot 10 (comme 'François Perrier').Collection particulière, France. Literature P. Rosenberg et al., 'France in the Golden Age: A Postscript', Metropolitan Museum Journal, 1982, XVII, p. 32.E. Schleier, 'Review of the exhibition: La peinture française du XVIIe siècle dans les collections américaines / France in the Golden Age', Kunstchronik, mai 1983, 36, p. 230 et p. 234, reproduit en noir et blanc fig. 2.B. Brejon de Lavergnée, 'New Attributions around Simon Vouet', Master Drawings, automne 1986, XXIII-XXIV, 3, reproduit p. 348.M. Hilaire, P. Ramade, Grand siècle : peintures françaises du XVIIe siècle dans les collections publiques françaises, [cat. exp.], Montréal-Rennes, Montpellier, musée des beaux-arts-musée des beaux-arts-musée Fabre, 25 janvier-5 septembre 1993, p. 145, sous le n°38. A. L. Clark, François Perrier: reflections on the Earlier Works from Lanfranco to Vouet / Les premières oeuvres de Lanfranco à Vouet, Paris, 2001, p. 107, n°31, reproduit en couleurs pl. VII et en noir et blanc sous le n°31. Exhibited Paris, galerie Éric Coatalem, François Perrier: Reflections on the Earlier Works from Lanfranco to Vouet / Les premières oeuvres de Lanfranco à Vouet, 2001, n°31. Special notice This item will be transferred to an offsite warehouse after the sale. Please refer to department for information about storage charges and collectiondetails. Post lot text FRANCOIS PERRIER, THE SACRIFICE OF A KING, MAYBE THE DEATH OF LYCURGUS, OIL ON CANVASDated to 1632-1633 by Alvin L. Clark, this enigmatic painting of the sacrifice of a king is a beautiful testimony to Francois Perrier’s (1594-1650) singular style. Formed in Italy by the luminous painter Giovanni Lanfranco (1582-1647), it is under Simon Vouet’s (1590-1649) influence that Perrier develops his personal style, marrying a monumental and sculptural manner to his master’s more flamboyant approach to painting. Upon his return to Paris in 1628 after four years in Rome, Perrier joins Vouet’s workshop, most notably working on the decorative scheme of the château de Chilly, which is now gone. Our painting dates from this period of inspired imitation, just before his second stay in the eternal city in 1634. This mysterious scene depicting the sacrifice of a king, or perhaps a god, is presented to us in a slightly reduced format from its original size. Thankfully, a contemporary copy of the painting (A. L. Clark, op. cit., n°32), as well as a preparatory sketch discovered by Barbara Bréion de Lavergnée (part of the Mathias Polakovits donation, Paris, école nationale des beaux-arts), tell us of the painting’s whole composition. The composition was originally closed off on the left by a group composed of a figure dressed as a priest from antiquity surrounded by three women with hair adorned by vine leaves. Whilst this reinforces the classical nature of the scene, any interpretation of our painting’s iconography remains hypothetical. If it is indeed a pagan priest ordering the sacrifice of a Christian martyr, then why does our painting contain no references to the divine, such as the traditional angels bearing palm leaves? On the other hand, if the main character being sacrificed is a king, then who is this blindfolded monarch? Eric Schleier takes up Luca Giuliani’s hypothesis that our painting, taking certain iconographic liberties, represents the sacrifice of Lycurgus, king of Thrace. Lycurgus, having defied Bacchus, a statue of whom we can glimpse on the left of the whole composition, was, according to certain versions, blinded and subsequently killed. In his article, Schleier refutes the old hypothesis that the subject is the death of Pentheus. Like Lycurgus, Pentheus is killed, namely by his mother and two aunts, for opposing Bacchus’ cult (E. Schleier, op. cit., p. 348).Whilst the iconography remains uncertain, there is no doubt as to the date of our painting. This is due to stylistic affinities with the Sacrifice d’Iphigénie (Dijon, musée des beaux-arts), painted around 1631-1632 whilst Perrier was still in Vouet’s workshop. Iphigenia’s executioner bears a very close resemblance to the victim in our painting whilst the feminine figure is reminiscent of Iphigenia, albeit more animated. We also find the same superposition of visual planes, producing a sense of tension between them and invigorating the composition, which is another peculiarity of Perrier’s paintings from that decade.
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ATTRIBUÉ À FRANÇOIS PERRIER (VERS 1594-1650)
ATTRIBUÉ À FRANÇOIS PERRIER (VERS 1594-1650)
€15 000
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€240
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