.jpg?w=1)
Lot Essay
In his fortieth year, Bouguereau chose two of his best works from among his most recent compositions to submit to the 1864 Salon: La baigneuse, which is currently in Ghent, and Le sommeil. Le sommeil, (156 x 119 cm) is one of the scenes of mothers and children which were particularly dear to the artist's heart throughout his life.
In his Salon chronicle of 1864, the famous critic Paul de Saint-Victoire wrote:
Study closely Le sommeil. You will be struck by the wonderful quality concealed in this painting, which might appear a little cold on the surface. It is of a Roman peasant who holds a nude child across her knees. She places a finger on her lips, making a sign to a little boy who holds cherries in the tail of his lifted shirt, not to wake his sleeping brother. These three pale figures, composed and grouped like a secular Holy Family, are modeled with a very light touch, with a remarkable sureity in the brush.
In the same year, Bouguereau painted this reduction of Le sommeil, which is slightly a third larger than the original. He created this reduction not only because he was considering sending it to his engraver, as was his custom, but also as a kind of personal challenge. The artist chose to recreate a painting with which he was supremely satisfied. This is made clear by the fact that the figural group in the reduction is an exact replica of the larger version. The only difference is the setting. The figures are no longer placed outside in the full sunlight, but are inside a rustic house, which is actually quite dark, lit only by a few rays of sunlight that filter in from the window.
We are grateful to Damien Bartoli for his assistance in preparing this catalogue note.
To be included in the upcoming Bouguereau catalogue raisonne currently being prepared by Damien Bartoli with the assistance of Frederick Ross, the Bouguereau Committee and the American Society of Classical Realism.
In his Salon chronicle of 1864, the famous critic Paul de Saint-Victoire wrote:
Study closely Le sommeil. You will be struck by the wonderful quality concealed in this painting, which might appear a little cold on the surface. It is of a Roman peasant who holds a nude child across her knees. She places a finger on her lips, making a sign to a little boy who holds cherries in the tail of his lifted shirt, not to wake his sleeping brother. These three pale figures, composed and grouped like a secular Holy Family, are modeled with a very light touch, with a remarkable sureity in the brush.
In the same year, Bouguereau painted this reduction of Le sommeil, which is slightly a third larger than the original. He created this reduction not only because he was considering sending it to his engraver, as was his custom, but also as a kind of personal challenge. The artist chose to recreate a painting with which he was supremely satisfied. This is made clear by the fact that the figural group in the reduction is an exact replica of the larger version. The only difference is the setting. The figures are no longer placed outside in the full sunlight, but are inside a rustic house, which is actually quite dark, lit only by a few rays of sunlight that filter in from the window.
We are grateful to Damien Bartoli for his assistance in preparing this catalogue note.
To be included in the upcoming Bouguereau catalogue raisonne currently being prepared by Damien Bartoli with the assistance of Frederick Ross, the Bouguereau Committee and the American Society of Classical Realism.