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Lot Essay
Issu d’une famille d’artistes et de collectionneurs ruinée peu avant la Révolution, Lancelot-Théodore Turpin de Crissé est dès sa jeunesse pris sous la protection de son parrain, le comte Marie-Gabriel-Florent-Auguste de Choiseul-Gouffier (1752-1817). Diplomate et archéologue, celui-ci envoie son filleul à Rome pour y terminer ses études et lui fait découvrir la Suisse, puis l’Italie, en 1807-1808. Le jeune Turpin de Crissé découvre alors Rome et ses environs, Florence et Naples. Peu avant, en 1806, il avait commencé à exposer ses paysages et vues historiques au Salon. De retour en France, en 1809, il entame une carrière administrative parallèlement à son activité de peintre, ce qui l’amène à occuper le poste de chambellan de l’impératrice Josephine de Beauharnais (1763-1814). Cette fonction le conduit à nouveau en Italie, second voyage d’une longue série qui le conduira à intégrer l’Académie des Beaux-Arts de Venise en 1829. Ce sont d’ailleurs principalement ses vues d’Italie, à l’image de notre œuvre, que Turpin de Crissé expose annuellement au Salon, et ce jusque 1837. Fervent défenseur des Bourbons, l’avènement de la monarchie de juillet le conduit à quitter la vie publique pour se consacrer uniquement à la peinture.
Notre œuvre témoigne des nombreux séjours italiens – estimés au nombre de sept – de Turpin de Crissé. Le palais des Doges et la place Saint-Marc, dont les traits sont par endroits uniquement esquissés sur notre tableau, figurent également sur une autre composition du peintre, Piazetta et palais ducal à Venise, œuvre conservée au musée du Louvre (inv. no. MI 233) et exposée à l’occasion du Salon de 1833.
Born just before the French Revolution into an impoverished family of artists and collectors, Lancelot-Théodore Turpin de Crissé lived under the protection of his patron, Count Marie-Gabriel-Florent-Auguste de Choiseul-Gouffier (1752-1817). A diplomat and archeologist, Choiseul-Gouffier sent his young charge to finish his studies in Rome, and also travelled with him to Switzerland and then to Italy, from 1807-1808, where he also discovered Florence and Naples. Shortly before, in 1806, he had started to exhibit his landscapes and historical vistas at the Salon. Upon his return to France in 1809, he embarked on an administrative career in parallel to his artistic activities, eventually becoming the chamberlain to Empress Josephine de Beauharnais (1763-1814). His official duties brought him again to Italy in a long series of visits, during which he enrolled in Venice’s Académie des Beaux Arts in 1829. He exhibited numerous views of Italy at the annual Salon, of which our current painting is an example. At the rise of the July Monarchy, Turpin de Crissé, a fervent supporter of the Bourbon dynasty, left public office and devoted himself exclusively to painting
The present work is a testament to the artist’s numerous stays in Italy (numbered to be around seven). The Doge’s Palace and Saint Mark’s Place, which remain partially sketched in some places, also appear in another composition by the artist, Piazetta et palais ducal à Venise, a work exhibited in the Salon of 1833 and now conserved in the Louvre (inv. no. MI 233).
Notre œuvre témoigne des nombreux séjours italiens – estimés au nombre de sept – de Turpin de Crissé. Le palais des Doges et la place Saint-Marc, dont les traits sont par endroits uniquement esquissés sur notre tableau, figurent également sur une autre composition du peintre, Piazetta et palais ducal à Venise, œuvre conservée au musée du Louvre (inv. no. MI 233) et exposée à l’occasion du Salon de 1833.
Born just before the French Revolution into an impoverished family of artists and collectors, Lancelot-Théodore Turpin de Crissé lived under the protection of his patron, Count Marie-Gabriel-Florent-Auguste de Choiseul-Gouffier (1752-1817). A diplomat and archeologist, Choiseul-Gouffier sent his young charge to finish his studies in Rome, and also travelled with him to Switzerland and then to Italy, from 1807-1808, where he also discovered Florence and Naples. Shortly before, in 1806, he had started to exhibit his landscapes and historical vistas at the Salon. Upon his return to France in 1809, he embarked on an administrative career in parallel to his artistic activities, eventually becoming the chamberlain to Empress Josephine de Beauharnais (1763-1814). His official duties brought him again to Italy in a long series of visits, during which he enrolled in Venice’s Académie des Beaux Arts in 1829. He exhibited numerous views of Italy at the annual Salon, of which our current painting is an example. At the rise of the July Monarchy, Turpin de Crissé, a fervent supporter of the Bourbon dynasty, left public office and devoted himself exclusively to painting
The present work is a testament to the artist’s numerous stays in Italy (numbered to be around seven). The Doge’s Palace and Saint Mark’s Place, which remain partially sketched in some places, also appear in another composition by the artist, Piazetta et palais ducal à Venise, a work exhibited in the Salon of 1833 and now conserved in the Louvre (inv. no. MI 233).