Lot Essay
When Theodule Ribot's work was exhibited at the Ecole Nationale des
Beaux-Arts after the painter's death, this extensive retrospective
revealed that the painter had early on been an advocate of the revival of eighteenth century French painters. This rococo revival, which influenced many painters as diverse as Jules Bastien-Lepage and
Auguste Renoir, was stimulated by the necessity of re-examining the roots of the French national heritage. It demonstrated that there was a well-established cultural foundation from which nineteenth century
French painters could draw on in their own work. Along with theoretical considerations, came a strong interest in popularizing rococo images through new paintings aimed at a broadened commercial market. Young painters, such as Ribot, were solicited by entrepreneurs to study the past and to produce their own version of rococo idylls and fête galantes. These works were then used as one means of reaching both the French public and an increased painting market abroad--in the United States.
While it is not known how many versions of eighteenth century scenes and types were completed by Ribot, it is likely that he completed a series of these canvases early in his career. These works provided Ribot with the opportunity to study the past; he learned from painters such as Lancret and Watteau. It also meant that the struggling painter had an income so that he could devote himself to more intense realist imagery--scenes drawn from his poverty stricken existence prior to any receipt of official governmental support in the 1860s.
Aside from reflecting the concerns of a painter eager to earn a living, Ribot's eighteenth century studies have a charm and innocence that would have appealed to middle-class collectors on both sides of the Atlantic. In this canvas, all the figures have a similar carefree expression, their gestures and garments reflect a light-hearted attitude, and Ribot effectively employs the delicate color tones of the rococo era. The attention to still-life objects in the foreground also demonstrates the beginning of one of Ribot's major passions--he was eventually to become a leader in the still-life revival in France during the 1860s.
Although the number of Ribot's eighteenth century inspired images remains unknown--they have seldom appeared on the art market--his commitment to variations of eighteenth century themes, and his awareness of rococo masters, is recorded in the literature on the painter albeit without extensive commentary. The appearance of this canvas demonstrates the range of Ribot's interests and an ability in handling a theme that provided an opportunity to create a popular icon that would have vaster appeal than a dour realist theme.
This painting will appear in the forthcoming catalogue raisonné on Ribot by G.P. Weisberg, and we are grateful to Dr. Weisberg for his assistance in preparing this catalogue entry.
Beaux-Arts after the painter's death, this extensive retrospective
revealed that the painter had early on been an advocate of the revival of eighteenth century French painters. This rococo revival, which influenced many painters as diverse as Jules Bastien-Lepage and
Auguste Renoir, was stimulated by the necessity of re-examining the roots of the French national heritage. It demonstrated that there was a well-established cultural foundation from which nineteenth century
French painters could draw on in their own work. Along with theoretical considerations, came a strong interest in popularizing rococo images through new paintings aimed at a broadened commercial market. Young painters, such as Ribot, were solicited by entrepreneurs to study the past and to produce their own version of rococo idylls and fête galantes. These works were then used as one means of reaching both the French public and an increased painting market abroad--in the United States.
While it is not known how many versions of eighteenth century scenes and types were completed by Ribot, it is likely that he completed a series of these canvases early in his career. These works provided Ribot with the opportunity to study the past; he learned from painters such as Lancret and Watteau. It also meant that the struggling painter had an income so that he could devote himself to more intense realist imagery--scenes drawn from his poverty stricken existence prior to any receipt of official governmental support in the 1860s.
Aside from reflecting the concerns of a painter eager to earn a living, Ribot's eighteenth century studies have a charm and innocence that would have appealed to middle-class collectors on both sides of the Atlantic. In this canvas, all the figures have a similar carefree expression, their gestures and garments reflect a light-hearted attitude, and Ribot effectively employs the delicate color tones of the rococo era. The attention to still-life objects in the foreground also demonstrates the beginning of one of Ribot's major passions--he was eventually to become a leader in the still-life revival in France during the 1860s.
Although the number of Ribot's eighteenth century inspired images remains unknown--they have seldom appeared on the art market--his commitment to variations of eighteenth century themes, and his awareness of rococo masters, is recorded in the literature on the painter albeit without extensive commentary. The appearance of this canvas demonstrates the range of Ribot's interests and an ability in handling a theme that provided an opportunity to create a popular icon that would have vaster appeal than a dour realist theme.
This painting will appear in the forthcoming catalogue raisonné on Ribot by G.P. Weisberg, and we are grateful to Dr. Weisberg for his assistance in preparing this catalogue entry.