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Tag Archives: French art

Object of the Month: April 2019

Christ with the Roman Centurion

Oil on canvas, c. 1712, Signed with initials, lower left: J.J.

Jean Baptiste Jouvenet

French, 1649–1717

An anonymous but astute artist once said, “Creativity lives at the mercy of self-discipline; without self-discipline, creativity is just a flight of fancy.”  Perhaps no one better illustrates the truth of this aphorism than painter Jean Baptiste Jouvenet. Taking in the visual textures, architectural detail, and life-like figures in his Christ with the Roman Centurion, it’s hard to believe that during the creation of the work Jouvenet’s painting hand (right hand) was in the final stage of paralysis. He began losing control of his right hand in the last decade of his life. Undeterred he trained himself to paint with his left hand and continued to work!  

Jouvenet was born in Rouen, a port city on the river Seine whose skyline is still dominated by Gothic cathedral spires. He entered Charles Le Brun’s studio at twelve (1661) and a year later was admitted to the Rouen painters’ guild. Throughout his teen years he helped Le Brun, King Louis XIV’s chief arts leader, with designs and decorations for some of France’s most opulent dwellings, including the Salon de Mars at Versailles. 

Jouvenet would go on to become the greatest French religious painter of his generation. Christ and the Roman Centurion highlights some of the reasons why. The work combines the opulent technique of his early training with the subtle realism of his later work. The result is a tempered emotionalism that actually enriches the dramatic power of the scene. The smaller size also indicates that it is a modello for a larger altarpiece Jouvenet painted for the church of the Récollets at Versailles. Artists like Jouvenet presented these smaller, meticulously painted versions to their wealthy patrons for final approval before completing the commissioned masterpiece.

At the end of his life Jouvenet would use his “new” painting hand to complete a group of eight paintings for the Cathedral of Notre-Dame in Paris. Like M&G’s Christ with the Roman Centurion it is signed and dated. For the cathedral, however, he departs from using his traditional initials of J.J., choosing instead to sign and date the work as follows: J. Jouvenet dextra paralyticus sinistra fecit 1716 (J. Jouvenet right palsy uses left, 1716). To read more about this grouping and to see the signature visit Notre-Dame de Paris. (The signature is clearly visible on the step in The Visitation Painting at the end of the article.)

Donnalynn Hess, Director of Education 

 

Published in 2019

Object of the Month: October 2018

The Fountain of Life

Potmetal and stained glass

Unknown

French, 16th century

Gift of Mr. and Mrs. Walter W. Lee

Every collection object has a life story to tell, and the fascinating narrative of these beautiful windows begins in the fertile flood plain of the Loire Valley in France, near Saumur…

The Windows’ Story

At his mother’s passing, Baron René de Thory inherited estate and lands as the new Lord of Boumois. His wealth included the ruins of a castle once owned by the Counts of Anjou and which was destroyed during the Hundred Years War. Following his marriage to Françoise du Plessis, René undertook the building of Chateau Boumois between 1521 and 1525 on the remains of the former Angevine castle.

The chateau’s designs included private living quarters, guest areas, public entertaining areas, kitchen, bakehouse, pantry, cellar, and towers.  As is fitting the role of the Lord of Boumois who held a seat of authority, the house included a dungeon and space for hearing judicial cases. To run such a household required servants, their living quarters, stables, a courtyard, and a dovecote.  Since the area was a central hub for the activity of those living and working on the estate, there was a chapel for worship; and all at the castle were protected by a surrounding moat.

In Anjou, there are some 1200 castles remaining today; Boumois is classified as a French Historical Monument and is one of the last remaining castles of Gothic architecture. Christian Cussonneau writes, “Boumois still offers today despite some mutilations, the essential features of a manor house at the end of the Middle Ages.”  On a beautiful imposing, carved door at the chateau, there still remains the de Tory coat of arms on the lock (see image). 

The chateau’s chapel was completed by 1525. To appropriately beautify the space, René de Thory commissioned stained glass windows, which were most likely created and installed before his wife, Françoise du Plessis, passed away in 1528/9. The chapel windows consisted of three sections:

  • The central window of three panels: the Fountain of Life
  • On the West wall: two lancets featuring the donor, René de Thory, presented by St. René to the Virgin of Pity (also known as the Pieta). De Thory is depicted as a kneeling knight wearing his family coat of arms; the window includes the Latin inscription: Omniae dei memoria mei meaning “Remembering that all things are for God.” 
  • On the East wall: two lancets featuring Françoise du Plessis presented by St. Francis of Assisi to the Virgin and Child with saints (most likely including St. Barbara, the patroness of the daughter of Lord and Lady Boumois).  These panels have since disappeared and are known only from written sources from the nineteenth century and supposedly by a photograph taken around 1890.

Not long after his wife’s death, René de Thory fell in love with Anne d’Assé, wife of François de Villeprouvée, Baron of Trier, who died under suspicious circumstances in January 1530. Questions arose that perhaps Anne’s husband was poisoned. Since poems written by René about his love for Anne were discovered, the two were accused and tried for murder; however, they were not convicted and secretly married in March 1530. 

While the windows of the chapel honor the first Lady of Boumois, de Thory had the chapel consecrated as the Chapel of St. Anne by the priest at Saint-Martin-de-la-Place on March 15, 1546 in honor of his second wife, Anne. At René de Thory’s death in 1565, Boumois was left to his wife and his son, Antoine de Thory.

The estate stayed in the de Thory family until sold in 1607, and then changed owners repeatedly over the next 300 years including a sale of the chateau’s furnishings in 1833. At the end of the nineteenth century, the architect and designer Stanford White obtained the five stained glass panels. He was known for decorating in the neo-Gothic style favored by his wealthy clientele—the nouveau riche seeking to create the wealth of the Old World in their American homes. After White’s death, newspaper magnate William Randolph Hearst acquired the panels in 1907. Later, through a gift purchased by Mr. and Mrs. Walter Lee from French & Co, M&G received the windows in 1956.

The Windows’ Imagery

Stained glass as an art reached its peak in the Middle Ages; the cathedrals with the increased buttressing allowed for more windows, whose colored beams of light created beautiful effects in the sanctuary by illuminating the space and using light to “paint” the Scriptural stories.  Jacques DuPont explains “this form of painting is less an ornament than the lyrical expression of a transcendent world” as stained glass creates “an atmosphere befitting the House of God, the Light of the World.”

Having a complete set of windows from this period is rare, and the imagery of the central windows is dramatic. In this crucifixion scene, the cross bearing Christ’s suffering body with five bleeding wounds stands above a fountain in which Adam and Eve are bathing—being cleansed of their sin; Christ’s blood then flows into a larger pool representing the forgiveness provided for all mankind—“whosoever will” may be cleansed and made righteous through faith in Christ’s sacrifice.  Above Christ is a door perhaps referencing Christ’s own words, “I am the door…. I am the way, the truth, and the life; no man cometh unto the Father, but by me.” 

Interestingly, the four fountain heads are the symbols in art for the four evangelists: an angel (Matthew), a lion (Mark), an ox (Luke), and an eagle (John). The designer may have referenced the iconography of paintings in the region like the Fountain of Life at the Calvet Museum in Avingnon or a slightly different version at Saint Mexme in Chinon.  Emile Male in his book Religious Art in France explains the symbolism of the four fountain heads, “This is an ingenious way of saying that the miracle of forgiveness has the Gospels as authority, that is to say, the Word of God Himself.” These windows present a beautiful representation of several doctrinal truths, such as the love of Christ, the power of His sacrifice to cleanse sin, and the fulfillment of His promise to Adam and Eve. 

William Cowper, eighteenth-century poet, captured the same visual truth through language: There is a fountain filled with blood drawn from Emmanuel’s veins; and sinners plunged beneath that flood lose all their guilty stains.

Erin R. Jones, Executive Director

 

Published in 2018

Gustave Doré

The Ascension
Gustave Doré

Below the image, click play to listen.

Object of the Month: August 2018

The Martyrdom of St. Perpetua and St. Felicitas

Oil on canvas, Signed and dated, Félix Leullier, 1880

Félix Louis Leullier

French, 1811–1882

In this arresting example of the nineteenth-century Romantic style, Felix Louis Leullier uses all the forces of paint and position to create a gruesome depiction of one of the most famous martyrdoms of the Christian church. Little known outside of France, Felix trained with Antoine-Jean Gros, renowned for his depictions of some of Napoleon’s famous battles: Battle of Arcole, Napoléon on the Battlefield of Eylau, and Battle of Abukir. Gros leaves little to the imagination in the spheres of conflict and conquest, so it is no wonder that his student, Felix, would choose to depict a martyrdom in a context resembling the twisted forms often found on a battlefield.  

The painting’s setting is the Roman Amphitheatre in Carthage, the North African center of Christianity in the early centuries following Christ’s death and resurrection; there is little more than an outline remaining today of the prominent structure that seated 30,000. Although Felix most likely did not travel to that part of the world, he could have easily participated in a Grand Tour, a customary excursion in the 18th and 19th centuries for men coming of age, to see and learn from the culture and histories of antiquity. Such a broadening and experiential trip included significant time in Rome, where the Colosseum was a chief point of interest and which is very similar to Carthage’s own great amphitheater. The combined influence of travel and exposure to prominent depictions like Granet’s Interior View of the Colosseum in Rome, 1804 and Towne’s The Colosseum, 1781, Leullier opts to create only a faint representation of an outdoor arena.  

On March 7, 203 AD, under the rule of the Roman emperor, Septimius Severus, the noblewoman Vibia Perpetua, was executed with her handmaid, Felicitas, and fellow catechumens, Revocatus, Saturninus, and Secundulus. Just a few years earlier in 197 AD in his treatise Apologeticus, Tertullian had posited that “the blood of the martyrs is the seed of the church.” As providence would have it, Tertullian himself was eyewitness and later chronicler to the gripping event portrayed in this work.  

In addition to Tertullian’s account and Perpetua’s own prison diary, Passio Perpetuae et Felicitatis, in which she captures much of the detail up until the hour of her entrance into the arena, many attempts to present the event have been created in various media formats. It is contained in older volumes like Foxe’s Book of Martyrs (1563), as well as in more recent accounts like Thomas J. Heffernan’s The Passion of Perpetua and Felicity (2012). It is visible in paintings, drawings, mosaics, stained glass and illuminated manuscripts like Menologion of Basil II; and it has been presented in investigative journalism in the PBS Frontline series, From Jesus to Christ (1998). 

Leullier’s visual rendering is indeed grand both in presentation and size, measuring nearly seven feet high by nine feet wide. Though literary works relate that Perpetua and Felicitas were martyred separately from the men, Leullier deviates from the historical account and instead depicts the entire company—the martyrs, the men that assaulted them, and the many animals that mauled them. By placing the massacre in the forefront of the work, the purity and testimony of these Christians’ story cannot be ignored.

Bonnie Merkle, M&G Database Manager and Docent

 

For further enrichment:

 

Published in 2018

Object of the Month: April 2018

The Ascension

Oil on canvas, 1883

Gustave Doré

French, 1832–1883

Louis Auguste Gustave Doré (1832-1883) is justly known as the greatest illustrator ever. His genius was recognized when he was a child, and his photographic memory allowed him to include minor details often overlooked by others. 

He began his prolific professional career at the age of 15 as an illustrator for the humorous magazine Journal pour Rire. During his relatively short life, he produced at least 8,000 wood engravings, 1,000 lithographs, 700 zinc engravings, 100 steel engravings, 50 etchings, 400 oil paintings, 500 watercolors, 800 mixed-media sketches, and 30 major works of sculpture.

While many admire Doré’s work, few people actually recognize his art, even having grown up seeing his pictures. His New and Old Testament illustrations became the most widely used and familiar images in twentieth-century Bible literature. He also created several large series of engravings for classics including The Rime of the Ancient Mariner, Don Quixote, Paradise Lost, Perrault’s Fairy Tales, The Divine Comedy and more.

Historically, illustrators have received little recognition for their artistic careers compared to their “fine art” counterparts. Doré was equally productive in creating oil paintings and sculpture, and his greatest ambition was to be respected primarily for his painting career; however, he is best remembered as an illustrator. 

M&G’s Collection has two of his most important religious paintings—The Ascension and Christ Leaving the Praetorium, both completed in 1883. 

As is typical of many artists, Doré created multiple versions of his works. His first version of The Ascension was completed in 1879 and measures almost twice the size of M&G’s painting, which is an imposing 11’ 11” tall by 7’ 8” wide!  The original Ascension hung with other religious works in the German Gallery of London (later called the Doré Gallery) where the great preacher Charles Haddon Spurgeon frequented and encouraged his congregation to visit. 

Sketches that Doré made while riding the newly invented hot-air balloon with his photographer friend, Felix Nadar, probably inspired The Ascension’s aerial perspective—the viewer is on the plane of the ascending Christ with the disciples small and distant standing on the ground. The rich greens and golds in Doré’s thick brushstrokes create excitement and energy at the end of Christ’s earthly ministry and the beginning of His heavenly role. The angels’ response in Acts 1:11 voices the painting’s story, “Ye men of Galilee, why stand ye gazing up into heaven?  This same Jesus which is taken up from you into heaven, shall so come in like manner as ye have seen him go into heaven.” 

John Good, Docent and Security Manager

Erin R. Jones, Executive Director

 

Published in 2018

Object of the Month: November 2017

Christ on the Sea of Galilee

Oil on canvas

Unknown French

France, active 17th century

Click on links for additional reference information.
This dynamic seascape by a seventeenth-century French painter bears a striking similarity to a work done by a renowned Dutch master of the same period, Rembrandt van Rijn. Until the modern concepts of copyright and intellectual property, most artists of the past eagerly learned from the creative ideas and innovative troubleshooting of both those before them and their contemporaries. Part of an artist’s training involved painting copies of famous works of art or that of their master (the teacher they were apprenticed to or worked under).  The diagonal composition, dramatic lighting, textures, and even to some degree, the figures in this M&G work are clearly reminiscent of Rembrandt’s Storm on the Sea of Galilee (below).

Rembrandt van Rijn (1606-1669) was born in the Netherlands, “a land of winds and water.” Located on the North Sea, twenty-five percent of the land is at or below sea level with the highest point (Vaalserberg) only 1053 feet above. Over the centuries, this geography has shaped both the nation’s history and the temperament of its people. For example, during the seventeenth century raging sea storms and lowland flooding often threatened life and livelihood, but Dutch ingenuity and resilience turned these formidable obstacles into valuable resources.  (For more detailed exploration download the National Gallery of Art’s informative resource Painting in the Dutch Golden Age.)

In light of Rembrandt’s birthplace, it’s interesting that he painted only one seascape. Regardless, the dynamic composition and nuanced atmospheric beauty of his Storm on the Sea of Galilee reflects an intimate knowledge of storm-tossed seas. Rembrandt was only 27 when he painted this work, and art historians have speculated that the choice of subject indicates a youthful preference for action-packed scenes. Whatever his motivation, the scene clearly adumbrates the dramatic chiaroscuro and nuanced visual texture that would become a hallmark of his work.

Sadly, we are limited to experiencing the work through reproductions.  On the night of March 18, 1990, two thieves dressed as police officers entered the Isabella Stewart Gardner Museum in Boston, bound the museum’s security guards, and made off with thirteen of the gallery’s prized masterworks, including Rembrandt’s famous seascape. 

Artists today are still honing their skills by studying and copying such masterworks. As contemporary artist Lisa Marder acknowledges, it is “one of the tried and true techniques of classical art training.”

Donnalynn Hess, Director of Education

 

 

Published in 2017

Object of the Month: June 2017

Reliquary

Giltwood

Spanish, 17th century

 

Reliquary Head of a Monk

Silver

French, 14th century

figure 1: Reliquary Head of a Monk

Click on links for additional reference information.

While the Museum & Gallery is best known for its large collection of European Old Master paintings, the museum also contains around 2,000 objects, ranging from medieval tapestries to Renaissance furniture to ancient Egyptian artifacts.  Among these diverse and unique items, two reliquaries provide an interesting look at sacred art in object form.

Reliquaries are containers that were designed to hold relics, the remains of a saint or an object closely associated with the honored individual.  In their day, these relics varied from supposed fragments of the cross to the finger bones of saints.  Beginning with the reign of Charlemagne, every medieval church owned some kind of a relic, and it was common practice for people to venerate relics deemed particularly significant.  Literature from the medieval era, such as Chaucer’s Canterbury Tales, whose characters are on a journey (a pilgrimage) to visit the shrine of St. Thomas Becket, reveals the integral role relics once filled in religious life.

figure 2: Reliquary

The first of M&G’s reliquaries is Spanish, dating from the seventeenth century (figure 2).  It is made of giltwood and has a small openings in the side of it, possibly designed to allow the worshipper to glimpse the relic within.  What that relic was, is unknown, and compared to M&G’s Reliquary Head of a Monk, (figure 1) this reliquary is simple in design and style.

On the subject of reliquaries, Barbara Drake Boehm, the senior curator of the Metropolitan Museum of Art’s Department of Medieval Art and The Cloisters, writes that “these complex containers in the form of parts of the body, usually mimicking the relics they enshrined, are one of the most remarkable art forms created in the Middle Ages for the precious remains of saints.” It is quite likely then, that M&G’s beautiful French reliquary designed to look like a face, once held the fragments of a skull—whose skull, remains a mystery.  Other reliquaries, more ornate but reminiscent in style, can be seen at the Aachen Cathedral in Germany.

As part of Roman Catholicism, the cult of relics had an interesting connection to the beginnings of the Protestant Reformation.  In 1517, Martin Luther nailed the 95 Theses on the church door of Wittenberg, Germany.  Frederick the Wise of Saxony, ruler of that region, had a collection of over 17,000 relics on display at the Church of Wittenberg.  M&G’s painting, Wittenberg, October 31, 1517, depicts a pilgrim, pictured towards the bottom far right with a shell on the outside of his cloak, coming into Wittenberg to venerate the relics at the church.

While M&G’s reliquaries no longer house the elements for which they were once designed, they provide a unique window into historical religious practices, serving as a lasting testament of the spiritual devotion of those who once venerated them.

Katie Neal, former M&G staff member and docent

 

 

Published in 2017

Object of the Month: January 2017

Mille-Fleurs Tapestry

Franco-Flemish, c. 1480

Gift of Z.E. Marguerite Pick in memory of Misty

Click on the links throughout the article to view additional artists’ works and reference material.

Mille fleurs tapestries are those with a myriad of small flowering plants sprinkled across a dark blue or red or sometimes dark brown background.  Mille-fleurs is French, literally translated “thousand flowers.”

Tapestries have been around for centuries, and their use was not merely decorative as we might assume in today’s culture. These incredible textiles are constructed from a considerable amount of wool threads with varying amounts of silk, silver, and gilt yarns for beauty and richness. Their size and material provided insulation in the drafty, cold interiors of medieval castles and homes, and they could easily be rolled or folded and transported, which was a great advantage to those living back then.

However, the subject matter of tapestries varied significantly focusing on scenes from history, allegory, mythology, Scripture, and romance with coats of arms and decorative elements included too.  The mille fleurs decoration, however, wasn’t necessarily linked to any specific subject, but sometimes might be; instead, as one writer describes, the flowering background is more of “an expression of the universal human love of fresh flowers and the wish to have bouquets of fields of them covering the walls”—especially in the barren winter months.

Although as symbols, mille fleurs particularly lend themselves to allegorical and romantic themes “furnishing a slight subject for tapestries entirely sprinkled over with sprightly growing plants” with the “now and then active dogs, strange beasts or an occasional human figure [who] claimed a space.”

M&G’s tapestry certainly meets this composition depicting the imaginary animal, the unicorn, with various birds (perhaps a falcon on the right) against the mille-fleurs background.  The upper portion reveals a landscape of mountains and hills with tall grasses, trees, various buildings, towers, and castles—including one with a moat full of wavy, active water.

The unicorn has quite a history—through second-hand accounts, of course. This mysterious animal is described in classical references as having goat-like features, hence the cloven hooves and beard; he hunts in the mountains and is a very strong, fast animal that no one could capture.  He is depicted on cylinder seals as far back as Babylon and Assyria and referenced in the fifth-century Greek writings by Artaxerxes’ physician, Ctesias.  Other references of the unicorn appear in the old bestiaries.

Philippe de Montebello, former director at the MET, explains the interest in animals both real and imagined, “During the Christian era, the expressive power of animals perhaps reached its height in the Latin bestiaries of the twelfth and thirteenth centuries. These books, labored over by the monks who copied them over and over again, combined factual, realistic observations of animal life with legend and served as allegorical texts for teaching clergy and laymen alike. Animals in their amazing diversity yielded illustrations and promulgations of desired behavior as well as warnings against misbehavior or evil.”

Of all the beasts, the unicorn (sometimes called the Monoceros) has become legendary. He symbolizes purity, and since the unicorn could only be captured by a virgin because of his attraction to her love of chastity, the hunt for the unicorn became an allegory of the incarnation of Christ as well as an allegory of romance and marriage.  Thus, the unicorn appears in both secular and religious art—even on some vestments worn by priests.

It is said that the horn of the unicorn possessed the virtue of detecting poison as well as the power to render the poison harmless. According to legend the animals of the forest would not drink from a pool until the unicorn had first purified it with his horn.  This story is depicted in one of the great unicorn tapestries in the collection at the Cloisters in New York.

The unicorn is often depicted in a place of colorful and abundant fauna, referencing Paradise—sometimes in connection with scenes of Creation and the Fall. He usually stands in the middle or off to the edge, alone or distant from the other animals, and sometimes near a body of water, perhaps immersing his horn.

For the gardeners and lovers of flowers, some of the plants possibly depicted include: foxglove, day lilies, rowan, and the daffodil.  Look closely to identify these symbolic plants:

  • Cuckoo Flower, which Pliny claims can repel snakes and “drive away melancholy and makes people happy in their hearts.”
  • Blue Bell blossoms, which supposedly when a bluebell is suspended above the threshold, “all evil things will flee therefrom.”
  • Wild Pansy, a symbol of remembrance and meditation
  • English Daisies, which signify the joy of Easter, and in medieval Germany these were called massliebe or “measure of love” suggesting that even then girls plucked the petals saying, “He loves me, he loves me not.”

Without knowing more about the designer, weavers and past owners, it’s difficult to know the intention of the tapestry; however, its symbolism provides insight for both the secular and spiritual just as it did in its original home.  The concept of appreciating nature and learning from our observation of it wasn’t new in the old bestiaries or even Aesop’s fables. King Solomon, the wisest man to ever live, exhorts the reader in his wisdom writings of Proverbs and Ecclesiastes to observe God’s creation and find its parallels for application and improvement in our own daily living—a good start for a New Year.

Erin R. Jones, Executive Director

 

Published in 2017

Object of the Month: April 2016

The Mocking of Christ

Oil on canvas, c. 1620–30

Unknown French or Dutch (follower of Michelangelo Merisi da Caravaggio)

Active 17th century

Click on the links throughout the article to view additional artists’ works and reference material.

One of the most important (and revolutionary) painters in history was the Italian artist, Michelangelo Merisi da Caravaggio. He broke free from mannerist conventions and stylistic artifice in the late 1500s and set a new path for artistic expression. At first, Caravaggio experimented in such genres as still life and scenes of common people including musicians and gamblers. These subjects were not depicted in mainstream art and neither was his conception of them.

As he earned commissions, he applied this personal vision to familiar Biblical themes. However, Caravaggio’s interpretation of these narratives was anything but traditional. The heightened realism, use of ordinary people as models (whom he presented without an idealistic lens), and novel, masterful compositions attracted many Romans to his genius.

The most influential and singularly astounding element of his style is his dramatic use of light that illuminated his figures as if they emerged from deep shadows; this contrast of light and dark is known as chiaroscuro, a technique also used by Leonardo da Vinci and Rembrandt van Rijn.

Not only the Romans turned their attention to Caravaggio, but soon other artists and patrons around Europe began to take note. As the artistic capital of Italy, Rome was viewed as the final experience for artists seeking to complete their training; many painters visiting from Spain, France, Germany, Flanders and Holland found inspiration in Caravaggio’s fresh approach—including one of the favorites of M&G’s guests, Gerrit van Honthorst.

The unknown French or Dutch author of the present painting likely saw Caravaggio’s paintings first-hand in Rome and sought to emulate his style. He may very well have seen the artist’s conception of this same subject, The Crowning of Thorns, now housed in the Kunsthistoriches Museum, Vienna.

The same characters, a man wearing armor and plumed hat and a torturer with a gaping white shirt, are found in both paintings. Even the “V” shape made by the bamboo reeds above Christ’s head are echoed in each composition. Furthermore, several of the figure types in this painting are similar to models in some of Caravaggio’s paintings.

While M&G cannot claim to have an autograph Caravaggio painting (there are only a handful in America), this painting is the closest we have to the master’s style and is clearly by the hand of an accomplished artist who sought to emulate not only one of the greatest artists of his time, but of all time.

John M. Nolan, Curator

 

Published in 2016

Object of the Month: September 2015

Christ and the Samaritan Woman 

Oil on canvas

François de Troy

French, 1645–1730

Click on the links throughout the article to view additional artists’ works and reference material.

Born in 1645 in Toulouse, France, François de Troy eagerly embraced the artistic tradition established by his father, Nicolas de Troy. François and his brother Jean trained together in their father’s Toulouse workshop. (Interestingly, François is often confused with his son, Jean-François de Troy, who he trained to continue the family’s artistic legacy). Sometime after age 17, Francois re-located to Paris where he refined and improved his talents under the tutelage of artists such as Claude Lefèbvre and  Nicolas-Pierre Loir. It was here in Paris that he officially began his career as a portraitist.

In 1671, Francois applied to the Académie Royale de Peinture et Sculpture. However, it wasn’t until three years later, at age 29, that the Académie accepted him. This sparked a longtime affiliation with the Académie as he served in many roles: elected as an adjunct professor in 1692, a full-time professor one year later, the coveted position of Director from 1708–1711, and adjunct rector in 1722.

The key to his success as a portraitist came in 1679 when he was selected by King Louis XIV, the Sun King, to paint an engagement portrait of Duchess Maria Anna Victoria of Bavaria (who was to marry his son and heir, Louis, the Grand Dauphin). This critical commission launched his career as he became one of the leading portrait artists during the reign of Louis XIV and the most sought after French portraitist of his time. From that point forward, he would continue to work for Louis XIV, Madame de Montespan (one of the King’s many mistresses), and their descendants (including Louis XV). His fame even brought him many commissions from the exiled King James II of England, his family, and loyal followers who were residing in Saint-Germain-en-Laye.

De Troy’s style evidences the influence of Flemish portraiture and artists such as Rubens and van Dyck. Many of his portraits showcase the warm coloring and dynamic compositions often seen in the Golden Age of Dutch portrait painting. Exhibited at the Salon of 1704, the Museum & Gallery’s Christ and the Samaritan Woman, while not a portrait, beautifully highlights the skill and qualities that epitomize de Troy’s style and career. Compare M&G’s work with de Troy’s Astronomy Lesson of the Duchesse du Maine completed sometime in 1702–1704. Both exhibit the rich, warm colors of de Troy’s style as well as a central placement of the primary figures.

John 4 records the tender encounter at the well between Christ and this Samaritan woman. Christ and his disciples had to pass through the region of Samaria on their way back to Galilee. This would have been particularly distasteful to any traveling Jew because of the longstanding hatred between the Jews and Samaritans.

While the disciples go into the city to purchase food, Christ chooses to rest at the well, where a Samaritan woman comes to draw water. Christ does the unthinkable and engages the Samaritan woman in conversation asking her, “Will you give me a drink?” Because the Jews and Samaritans would not associate with one another, the woman understandably states, “You are a Jew and I am a Samaritan woman. How can you ask me for a drink?” As He gently leans in to close the physical gap between them, de Troy’s Christ removes the barriers built by their conflicting cultures and offers her the “living water” that only He can provide.  His knowledge of her past and present sins combined with his kindness and loving offer, motivates her to seek this “living water” and share it with the people in her town who curiously come to see this prophet. Remarkably, Christ remains in Samaria for two days at the invitation of the townspeople, and many come to believe in Him as they tell the woman, “We no longer believe just because of what you said; now we have heard for ourselves, and we know that this man really is the Savior of the world.”

Rebekah Cobb, Guest Relations Manager & Docent

 

Published in 2015

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