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La Leçon de Luth
细节
JEAN-HONORÉ FRAGONARD (GRASSE 1732-1806 PARIS)
La Leçon de Luth
pierre noire, pinceau, lavis brun
39,5 x 26,8 cm (15 ½ x 10 ½ in.)
La Leçon de Luth
pierre noire, pinceau, lavis brun
39,5 x 26,8 cm (15 ½ x 10 ½ in.)
来源
Prince Soutzo; sa vente [M. le prince S.], Paris, 28 février 1876, lot 86 (vendu 280 francs).
Mr. Alfred Le Ghait, 1890.
Lucien Guiraud; sa vente [L.G...], Paris, 8 décembre 1953, lot 15 (vendu 1.600.000 anciens francs).
Matthiesen Gallery, Londres.
Acquis auprès de celui-ci par Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
Mr. Alfred Le Ghait, 1890.
Lucien Guiraud; sa vente [L.G...], Paris, 8 décembre 1953, lot 15 (vendu 1.600.000 anciens francs).
Matthiesen Gallery, Londres.
Acquis auprès de celui-ci par Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
出版
'...La Leçon de musique, autre sépia de Fragonard, la perle de la vente, c'est un arrangement exquis, d'une observation, d'une justesse, d'une couleur, d'un faire à louer sans réserve.', in La Revue d'Art, 1876, ill.
R. Portalis, Fragonard, Paris, 1889, p. 307 (comme 'La Leçon de Musique').
F. Naquet, Fragonard, Paris, 1890, p. 69, ill.
'C'est une scène à la manière des intimistes' in Connaissance des Arts, n° 23, ill.
'hollandais, mais avec toute la grâce de l'esprit de l'école Française du XVIIIe siècle.' in L'Amateur d'Art, n° 120, ill.
A. Ananoff, L'œuvre dessiné de Jean-Honoré Fragonard, I, 1961, II., n°72, fig. 337.
S. Robertson, Marguerite Gérard : 1761-1837. Catalogue raisonné, Ph.D, New York University, 1978, II, p. 736, cat. 7a (comme M. Gérard).
J.-P. Cuzin, Jean-Honoré Fragonard, vie et oeuvre, catalogue complet des peintures, Paris, 1987, n° 275.
P. Rosenberg, Tout l'œuvre peint de Fragonard, 1989, fig. 435a.
J.-P. Cuzin & D. Salmon, Fragonard. Regards croisés, Paris, 2007, fig. 99.
C. Blumenfeld, Marguerite Gérard 1761-1837, Montreuil, 2019, sous le n °1P, fig. III.
R. Portalis, Fragonard, Paris, 1889, p. 307 (comme 'La Leçon de Musique').
F. Naquet, Fragonard, Paris, 1890, p. 69, ill.
'C'est une scène à la manière des intimistes' in Connaissance des Arts, n° 23, ill.
'hollandais, mais avec toute la grâce de l'esprit de l'école Française du XVIIIe siècle.' in L'Amateur d'Art, n° 120, ill.
A. Ananoff, L'œuvre dessiné de Jean-Honoré Fragonard, I, 1961, II., n°72, fig. 337.
S. Robertson, Marguerite Gérard : 1761-1837. Catalogue raisonné, Ph.D, New York University, 1978, II, p. 736, cat. 7a (comme M. Gérard).
J.-P. Cuzin, Jean-Honoré Fragonard, vie et oeuvre, catalogue complet des peintures, Paris, 1987, n° 275.
P. Rosenberg, Tout l'œuvre peint de Fragonard, 1989, fig. 435a.
J.-P. Cuzin & D. Salmon, Fragonard. Regards croisés, Paris, 2007, fig. 99.
C. Blumenfeld, Marguerite Gérard 1761-1837, Montreuil, 2019, sous le n °1P, fig. III.
展览
Londres, The Matthiesen Gallery, French Master Drawings of the 18th Century, 1950, n° 25.
Barcelone, Fundación 'la Caixa', Jean-Honoré Fragonard (1732-1806) : orígenes e influencias, de Rembrandt al siglo XXI, 2006- 2007, p. 201 (catalogue par J.-P. Cuzin, et al.).
Barcelone, Fundación 'la Caixa', Jean-Honoré Fragonard (1732-1806) : orígenes e influencias, de Rembrandt al siglo XXI, 2006- 2007, p. 201 (catalogue par J.-P. Cuzin, et al.).
更多详情
JEAN-HONORÉ FRAGONARD, THE LUTE LESSON OR THE MUSIC LESSON, BLACK CHALK, BRUSH, BROWN WASH
This drawing is characteristic of Jean-Honoré Fragonard’s style: brown wash laid over a swift and skillful underlying sketch in black chalk. It should be associated with a painting of the same composition by Marguerite Gérard. Indeed, after the death of her mother, Marguerite Gérard, Fragonard’s sister-in-law, moved to Paris to live with her younger sister, Marie-Anne Gérard, and her husband, Jean-Honoré Fragonard. She quickly became his pupil and principal collaborator before eventually establishing her independence. Her early painting, executed circa 1783-1784 and corresponding to the composition of the present drawing, was rediscovered in an English collection in 2014 (fig. 1; C. Blumenfeld, Marguerite Gérard 1761-1837, Montreuil, 2019, no. P1, ill. p. 3). Although questions of attribution between Fragonard and Marguerite Gérard have often arisen, the case here is entirely clear: the oil painting The Lute Lesson is the earliest documented painting recorded under the name 'Mademoiselle Gérard,' appearing as such in an auction held on December 20, 1785, lot 116.
Fragonard and the Northern Masters
The composition of a standing female musician playing the lute before a seated man beside a table covered with an Oriental carpet recalls Dutch Golden Age still-life and genre paintings. As Sophie Raux demonstrated in 2006, Fragonard did not merely copy the Italian masters but also studied Northern artists, ranging from Van Dyck and Rubens to Rembrandt (S. Raux, 'Fragonard y los maestros del norte,' in Jean-Honoré Fragonard (1732-1806). Orígenes e influencias. De Rembrandt al siglo XXI, exh. cat., Barcelona, CaixaForum, 2006-2007, pp. 41-47). He traveled to Flanders and Holland during the summer of 1773, and probably on other occasions throughout the 1770s, with his patron Pierre-Jacques Onésyme Bergeret de Grandcourt, who had notably financed his grand tour of Italy (Raux, op. cit.). In the sale of François Boucher's collection on 18 February 1771, Fragonard also purchased some 280 prints after Netherlandish masters and sixty-nine drawings by Rembrandt and his school (Blumenfeld, op. cit., p. 39), all of which proved highly inspiring to the artist.
The Iconography of the Lute
As for the iconographic subject, musicologists consider it highly probable that Fragonard reproduced a conventional motif, a pictorial topos derived from a repertoire of models, most often engravings rather than studies made from life. By the end of the eighteenth century, very few young women played the lute, and depictions seen from behind were even rarer. One may cite a red-chalk drawing by the Flemish painter from Bruges, Johan Anton Garemyn (1712-1799), held in the Art Institute of Chicago (fig. 2; inv. 1971.319). By contrast, the instrument had been very common a century earlier, particularly in Flemish and Dutch circles, although it was also used throughout the rest of Europe, including France.
In Fragonard’s drawing, the instrument is depicted in a rather unusual manner, the aim being not documentary accuracy but purely artistic effect. The angle of the pegbox in relation to the neck and the length of the neck are not true to reality. Normally, when the pegbox is inclined at an angle of 70° or 80°, the instrument has a short neck. Conversely, when the pegbox is located at the very end of the neck, as here, it should be straight and unangled, forming a direct extension of the neck. An angled pegbox at the end of a long neck would be structurally too fragile. One of the few known representations of such an instrument is probably the painting The Duet by Jan Molenaer (fig. 3; Seattle Art Museum, inv. 61.162), although in that work the lute, played by a man, possesses two pegboxes: one in the middle and another at the extremity, rather than a single pegbox as in the present drawing.
Fragonard and Music
Music occupies a prominent place in Fragonard’s iconography, likewise in the work of Marguerite Gérard, and both artists were probably strongly influenced by Dutch painting, as mentioned above. Carole Blumenfeld compares the present composition to Jacob Ochtervelt’s painting The Serenade, dated 1669 and preserved at the Kunsthalle Bremen (Blumenfeld, op. cit., p. 36, ill. 18), in which a man plays the guitar in the semi-darkness while the woman seen from behind, listening to and looking at him, bears similarities to the present musician.
Stylistically, the importance and liveliness of the underlying graphite drawing covered by a luminous brown wash recalls Fragonard’s wash drawings of the years 1775-1785, such as Young Girl Examining a Drawing (1775), preserved at the Musée Marmottan in Paris (inv. 4006; Fragonard. Poesie & Leidenschaft, exh. cat., Karlsruhe, Staatliche Kunsthalle, no. 48), and The Adoration of the Shepherds in the Louvre Museum (inv. RF31875; ibid., no. 52).
We would like to thank Joseba Berrocal of the Conservatory of Music of Castile and León for his assistance in the preparation of this catalogue entry.
Figures
Fig. 1: M. Gérard, The Lute Lesson, oil on canvas, private collection.
Fig. 2: J. A. Garemyn, A Lute Player and a Lute, red chalk, Chicago, Art Institute.
Fig. 3: J. Molenaer, The Duet, oil on canvas, Seattle Art Museum.
This drawing is characteristic of Jean-Honoré Fragonard’s style: brown wash laid over a swift and skillful underlying sketch in black chalk. It should be associated with a painting of the same composition by Marguerite Gérard. Indeed, after the death of her mother, Marguerite Gérard, Fragonard’s sister-in-law, moved to Paris to live with her younger sister, Marie-Anne Gérard, and her husband, Jean-Honoré Fragonard. She quickly became his pupil and principal collaborator before eventually establishing her independence. Her early painting, executed circa 1783-1784 and corresponding to the composition of the present drawing, was rediscovered in an English collection in 2014 (fig. 1; C. Blumenfeld, Marguerite Gérard 1761-1837, Montreuil, 2019, no. P1, ill. p. 3). Although questions of attribution between Fragonard and Marguerite Gérard have often arisen, the case here is entirely clear: the oil painting The Lute Lesson is the earliest documented painting recorded under the name 'Mademoiselle Gérard,' appearing as such in an auction held on December 20, 1785, lot 116.
Fragonard and the Northern Masters
The composition of a standing female musician playing the lute before a seated man beside a table covered with an Oriental carpet recalls Dutch Golden Age still-life and genre paintings. As Sophie Raux demonstrated in 2006, Fragonard did not merely copy the Italian masters but also studied Northern artists, ranging from Van Dyck and Rubens to Rembrandt (S. Raux, 'Fragonard y los maestros del norte,' in Jean-Honoré Fragonard (1732-1806). Orígenes e influencias. De Rembrandt al siglo XXI, exh. cat., Barcelona, CaixaForum, 2006-2007, pp. 41-47). He traveled to Flanders and Holland during the summer of 1773, and probably on other occasions throughout the 1770s, with his patron Pierre-Jacques Onésyme Bergeret de Grandcourt, who had notably financed his grand tour of Italy (Raux, op. cit.). In the sale of François Boucher's collection on 18 February 1771, Fragonard also purchased some 280 prints after Netherlandish masters and sixty-nine drawings by Rembrandt and his school (Blumenfeld, op. cit., p. 39), all of which proved highly inspiring to the artist.
The Iconography of the Lute
As for the iconographic subject, musicologists consider it highly probable that Fragonard reproduced a conventional motif, a pictorial topos derived from a repertoire of models, most often engravings rather than studies made from life. By the end of the eighteenth century, very few young women played the lute, and depictions seen from behind were even rarer. One may cite a red-chalk drawing by the Flemish painter from Bruges, Johan Anton Garemyn (1712-1799), held in the Art Institute of Chicago (fig. 2; inv. 1971.319). By contrast, the instrument had been very common a century earlier, particularly in Flemish and Dutch circles, although it was also used throughout the rest of Europe, including France.
In Fragonard’s drawing, the instrument is depicted in a rather unusual manner, the aim being not documentary accuracy but purely artistic effect. The angle of the pegbox in relation to the neck and the length of the neck are not true to reality. Normally, when the pegbox is inclined at an angle of 70° or 80°, the instrument has a short neck. Conversely, when the pegbox is located at the very end of the neck, as here, it should be straight and unangled, forming a direct extension of the neck. An angled pegbox at the end of a long neck would be structurally too fragile. One of the few known representations of such an instrument is probably the painting The Duet by Jan Molenaer (fig. 3; Seattle Art Museum, inv. 61.162), although in that work the lute, played by a man, possesses two pegboxes: one in the middle and another at the extremity, rather than a single pegbox as in the present drawing.
Fragonard and Music
Music occupies a prominent place in Fragonard’s iconography, likewise in the work of Marguerite Gérard, and both artists were probably strongly influenced by Dutch painting, as mentioned above. Carole Blumenfeld compares the present composition to Jacob Ochtervelt’s painting The Serenade, dated 1669 and preserved at the Kunsthalle Bremen (Blumenfeld, op. cit., p. 36, ill. 18), in which a man plays the guitar in the semi-darkness while the woman seen from behind, listening to and looking at him, bears similarities to the present musician.
Stylistically, the importance and liveliness of the underlying graphite drawing covered by a luminous brown wash recalls Fragonard’s wash drawings of the years 1775-1785, such as Young Girl Examining a Drawing (1775), preserved at the Musée Marmottan in Paris (inv. 4006; Fragonard. Poesie & Leidenschaft, exh. cat., Karlsruhe, Staatliche Kunsthalle, no. 48), and The Adoration of the Shepherds in the Louvre Museum (inv. RF31875; ibid., no. 52).
We would like to thank Joseba Berrocal of the Conservatory of Music of Castile and León for his assistance in the preparation of this catalogue entry.
Figures
Fig. 1: M. Gérard, The Lute Lesson, oil on canvas, private collection.
Fig. 2: J. A. Garemyn, A Lute Player and a Lute, red chalk, Chicago, Art Institute.
Fig. 3: J. Molenaer, The Duet, oil on canvas, Seattle Art Museum.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA