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Lot Essay
Alfred de Dreux is regarded as the leading French 19th Century equestrian artist. He specialised in horse portraits and riding subjects almost to the exclusion of anything else and he won many prizes during his illustrious career. He was born in Paris, the son of Pierre Anne de Dreux, a respected architect who worked in a neo-classical style for the firm of Percier and Fontaine. Despite this classical influence de Dreux's main inspiration was the romantic tradition of his teacher Théodore Géricault. They developed a strong relationship and Géricault executed an exquisite portrait of de Dreux as a boy, now in the Metropolitan Museum of Art, New York. De Dreux's success began at the Salon of 1831 and continued through the peak of his career in 1859 when Napoleon III commissioned the artist to paint his Portrait équestre avec sa garde (Paris, Musée de l'Armée). The present work was painted a year previously and shows de Dreux at the very height of his powers. It is at once an assimilation of both Géricault and Delacroix's work and a demonstration of his own unique innovations.
A defined energy and movement characterised the new style in which Géricault portrayed the horse, and the influence of this novel approach can be seen in de Dreux's patricular attention to the force and the action of his equestrian subjects. In his own way, he gave the animal an idealised form. De Dreux was so adept at absorbing the styles of both Géricault and Delacroix, that critics at times could not distinguish between the works of student and teachers. One 19th Century collector, Jean Vaudoyer declared upon observing a de Dreux much like Le Cocher Noir entitled Nègre à Cheval, 'it is a work, that without the signature, one would be tempted to attribute to another [Géricault] instead of this charming, elegant Alfred de Dreux.' (70 ans après, "Alfred de Dreux: Peintre de Chevaux", Musée du Cheval de Courses, 1998, preface.)
The fascination for the Orient was one of the leading forces of the romantic movement. The vogue for the exotic formed alongside artists' interest in travel, escapism and an alternative way of life. The reign of Louis-Philippe was one of rapid colonial expansion. The monarch believed in opening up contact with foreigners and encouraging better trade and diplomatic relationships. Expeditions such as the Algerian campaign of 1837 which resulted in French colonialisation meant that trips by artists to North Africa became more and more commonplace. De Dreux travelled to North Africa with Delacroix which provided him not only access to another pre-eminent Romantic painter, but also gave him a repertoire of powerful imagery which he continued to draw on throughout his career.
Le Cocher Noir has a particularly distinguished psychology, being neither a purely Orientalist subject, nor a chiefly equestrian study. The monumentality of the horse is reinforced by de Dreux's positioning of his strong frame tightly into the confines of the canvas. The solidity and immediacy of the image are emphasised by the placing of the animal squarely horizontal to the viewer at the extreme foreground, eliminating any distance between the subject and the viewer. The weariness of the chestnut horse after his day's work is contrasted with the sprightly nature of the terrier. The horse still wears his bolsters and backings which are exquisitely rendered.
The elegant and dignified groom is a portrait of Joseph, originally Delacroix's assistant and frequent model for Géricault. Joseph worked in Géricault's studio for over seven years, modeling for The Raft of the Medusa (Paris, Musée du Louvre) and de Dreux likely worked closely with him during this time. Through his commissions for the duc d'Orléans, de Dreux came to paint a series of works depicting Abd el Kadra, the leader of the Algerian forces in the war with the French, and he used Joseph as the model for the exiled commander. Here he is given a noble stature as he confidently gazes at the viewer whilst gently leading his tired and faithful beast to rest. Le Cocher Noir is not only a successful equestrian portrait but also a sophisticated interpretation of 19th Century Romanticism as well.
The authenticity of this work has been confirmed by Brame et Lorenceau.
A defined energy and movement characterised the new style in which Géricault portrayed the horse, and the influence of this novel approach can be seen in de Dreux's patricular attention to the force and the action of his equestrian subjects. In his own way, he gave the animal an idealised form. De Dreux was so adept at absorbing the styles of both Géricault and Delacroix, that critics at times could not distinguish between the works of student and teachers. One 19th Century collector, Jean Vaudoyer declared upon observing a de Dreux much like Le Cocher Noir entitled Nègre à Cheval, 'it is a work, that without the signature, one would be tempted to attribute to another [Géricault] instead of this charming, elegant Alfred de Dreux.' (70 ans après, "Alfred de Dreux: Peintre de Chevaux", Musée du Cheval de Courses, 1998, preface.)
The fascination for the Orient was one of the leading forces of the romantic movement. The vogue for the exotic formed alongside artists' interest in travel, escapism and an alternative way of life. The reign of Louis-Philippe was one of rapid colonial expansion. The monarch believed in opening up contact with foreigners and encouraging better trade and diplomatic relationships. Expeditions such as the Algerian campaign of 1837 which resulted in French colonialisation meant that trips by artists to North Africa became more and more commonplace. De Dreux travelled to North Africa with Delacroix which provided him not only access to another pre-eminent Romantic painter, but also gave him a repertoire of powerful imagery which he continued to draw on throughout his career.
Le Cocher Noir has a particularly distinguished psychology, being neither a purely Orientalist subject, nor a chiefly equestrian study. The monumentality of the horse is reinforced by de Dreux's positioning of his strong frame tightly into the confines of the canvas. The solidity and immediacy of the image are emphasised by the placing of the animal squarely horizontal to the viewer at the extreme foreground, eliminating any distance between the subject and the viewer. The weariness of the chestnut horse after his day's work is contrasted with the sprightly nature of the terrier. The horse still wears his bolsters and backings which are exquisitely rendered.
The elegant and dignified groom is a portrait of Joseph, originally Delacroix's assistant and frequent model for Géricault. Joseph worked in Géricault's studio for over seven years, modeling for The Raft of the Medusa (Paris, Musée du Louvre) and de Dreux likely worked closely with him during this time. Through his commissions for the duc d'Orléans, de Dreux came to paint a series of works depicting Abd el Kadra, the leader of the Algerian forces in the war with the French, and he used Joseph as the model for the exiled commander. Here he is given a noble stature as he confidently gazes at the viewer whilst gently leading his tired and faithful beast to rest. Le Cocher Noir is not only a successful equestrian portrait but also a sophisticated interpretation of 19th Century Romanticism as well.
The authenticity of this work has been confirmed by Brame et Lorenceau.