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« Les dessins de Gabriel, contrastés d’ombres et de lumières, reconnaissables au milieu de tous les dessins des dessinateurs du siècle par leur caractère de dessins de peintre, sont un vrai régal pour les yeux d’amateurs » E. et J. de Goncourt, L’art du XVIIIe siècle, 1880, I. p. 369
GABRIEL DE SAINT-AUBIN (PARIS 1724-1780)
Le triomphe de l'Amour sur tous les dieux
细节
GABRIEL DE SAINT-AUBIN (PARIS 1724-1780)
Le triomphe de l'Amour sur tous les dieux
signé, daté 'Gabriel de St Aubin Invenit 1752' (en bas à gauche), inscrit 'Omnia Vincit Amor' (en bas au centre) et 'L'Amour surmonte tout c'est en vain qu'on le brave / et le plus grand des dieux est son premier esclave' (en bas à droite)
pierre noire, graphite, plume et encre noire, lavis gris, brun et bleu, rehaussé de blanc et de gomme arabique
27,3 x 34,8 cm (10 ¾ x 13 3⁄8 in.)
Le triomphe de l'Amour sur tous les dieux
signé, daté 'Gabriel de St Aubin Invenit 1752' (en bas à gauche), inscrit 'Omnia Vincit Amor' (en bas au centre) et 'L'Amour surmonte tout c'est en vain qu'on le brave / et le plus grand des dieux est son premier esclave' (en bas à droite)
pierre noire, graphite, plume et encre noire, lavis gris, brun et bleu, rehaussé de blanc et de gomme arabique
27,3 x 34,8 cm (10 ¾ x 13 3⁄8 in.)
来源
Marque d'un monteur non identifiée (L. 3536).
[Peut-être] vente anonyme; Paris, 20 février 1767, lot 82.
Guillaume Marie Etienne de Gontaut-Biron, Marquis de Gontaut-Biron (1859-1939), Paris ; sa vente, galerie Georges Petit, Paris, 9-11 juin 1914, lot 57 (adjugé 26,500 francs).
Acquis au cours de celle-ci par Madame A.-F. Meyer, 58 avenue Hoche, Paris (au moins jusqu'en 1923).
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
[Peut-être] vente anonyme; Paris, 20 février 1767, lot 82.
Guillaume Marie Etienne de Gontaut-Biron, Marquis de Gontaut-Biron (1859-1939), Paris ; sa vente, galerie Georges Petit, Paris, 9-11 juin 1914, lot 57 (adjugé 26,500 francs).
Acquis au cours de celle-ci par Madame A.-F. Meyer, 58 avenue Hoche, Paris (au moins jusqu'en 1923).
Doña Graziella Patiño de Ortiz Linares (1900-1980) et Son Excellence Don Jorge Ortiz Linares (1894-1965) ;
Puis par descendance.
出版
E. Dacier, Gabriel de Saint-Aubin: Peintre, Dessinateur, et Graveur (1724-1780), I, Paris, 1929-1931, I. pl. 3; II., n° 876.
P. Rosenberg, Le livre des Saint Aubin, Paris, 2002, sous le n° 41, fig. 28 (localisation actuelle inconnue).
C. Bailey, et al., Gabriel de Saint-Aubin 1724-1780, New York, 2008, sous le n° 7, fig. 1 (notice par P. Rosenberg avec une localisation et une légende erronées: 'musée du Louvre').
P. Rosenberg, Le livre des Saint Aubin, Paris, 2002, sous le n° 41, fig. 28 (localisation actuelle inconnue).
C. Bailey, et al., Gabriel de Saint-Aubin 1724-1780, New York, 2008, sous le n° 7, fig. 1 (notice par P. Rosenberg avec une localisation et une légende erronées: 'musée du Louvre').
展览
Paris, L'Art français au service de la science, avril-mai 1923 (comme Saint Quentin).
更多详情
GABRIEL DE SAINT-AUBIN, THE TRIUMPH OF LOVE OVER ALL THE GODS, BLACK CHALK, GRAPHITE, PEN AND BLACK INK, GREY, BROWN AND BLUE WASH, HEIGHTENED WITH WHITE AND GUM ARABIC, SIGNED, INSCRIBED AND DATED
Of great importance within the work of Gabriel de Saint-Aubin, this drawing, lost to view after its appearance in the sale of the Marquis de Biron in Paris in 1914, can be connected with the painting of the Triumph of Love over All the Gods from the former collection of Henri and Suzanne Baderou, who bequeathed their collection, including the painting, to the Musée des Beaux-Arts in Rouen in 1975 (fig. 1; inv. 975.4.154).
Saint-Aubin originally thought of becoming a history painter at the Académie Royale de Peinture. After taking drawing classes from life at the Académie and winning several drawing medals, he competed for the Grand Prix three years in succession from 1752, without success. However, in reality history painting, which demands invention and imagination, held little appeal for him. He loved to draw the world around him. A tireless Parisian walker and celebrated frequenter of Salon exhibitions and auction rooms, he always had a sketchbook in hand, in which he skilfully combined annotations, captions and inscriptions with drawings: 'he knew how to combine word and line in order to create a powerful image' (Rosenberg, op. cit., 2008, p. 14). Yet here, with this allegorical subject, it is indeed his imagination to which Saint-Aubin appeals.
The painted sketch from the former Baderou collection, for which the present drawing is a preparatory work, was conceived as a project for a large painting never executed, and was exhibited at the Salon of the Académie Saint-Luc (no. 54) in 1774, before being lent by its owner, Augustin de Saint-Aubin (1736-1807), Gabriel's brother, to the Salon de la Correspondance in 1783 (no. 97). Whilst it was in his collection, the painted sketch was copied by Augustin when he was only eighteen years old, in the Livre des Saint-Aubin, today preserved in the musée du Louvre (fig. 2; inv. RF 52319). This is the celebrated collection of richly annotated drawings executed by the father of this dynasty of artists, Gabriel-Germain de Saint-Aubin (1696-1756), and his children, the two most celebrated of whom are undoubtedly Gabriel and Augustin. It is a unique document of the 18th century, remarkable above all for the genius of Gabriel, a voracious chronicler of his time who occupies a prominent place in this ensemble.
The drawing by Augustin copied after the present drawing, in brown and grey wash, is perfectly faithful to the painted and drawn original, an allegorical composition such as those that Gabriel so loved to draw (P. Rosenberg, op. cit., 2002, p. 120). This copy confirms the attachment that Augustin must have had for his brother's drawing and its importance within Gabriel's œuvre.
It would be reductive to describe the present drawing as merely preparatory to the painting in the musée des Beaux-Arts in Rouen, for Gabriel de Saint-Aubin was above all a draughtsman and the work also functions independently. Dated 1752, this ceiling study still bears the mark of the ornamental and decorative Rococo style of the artist's father, Gabriel-Germain, and of his elder brother Charles-Germain, draughtsman to the king (S. Folds McCullagh, in Gabriel de Saint-Aubin, exh. cat., 2008, p. 50). It doubtless also owes much to his master François Boucher in this elegant allegory. Here, Love triumphs. Enthroned in light, Cupid receives the trophies of the gods he has conquered: Jupiter's thunderbolt, Venus's chariot, Bacchus's thyrsus, Apollo's lyre, Diana's quiver, Hercules' fleece, Mercury's caduceus and Mars' sword. A festoon of putti swirls through the sky, heightened with blue watercolour and translucent grey and brown wash, lending great dynamism to the entire composition. The balustrades and other architectural elements framing the composition recall here the primary function of the work: a ceiling study.
All of Gabriel's genius comes together in this sheet of rather generous format compared to the many small sketches of the rest of his oeuvre: the freedom of execution, his virtuosity with the pencil, the spontaneity and the carefulness of observation. A kind of 'graphic workshop' that so delighted the Goncourt brothers, who describe the work at length and in detail as 'a rectangular ceiling with rounded and scrolled corners, where the scrollwork of the rocaille is interrupted by a garland of flowers, appearing here and there and dying away between the hands of two cupids who lift the end in order to enchain tigers. At the centre of the ceiling, a small triumphant cupid, his foot upon crowns, holding an arrow like a baton of command, around whom are silhouetted the bodies of naked women amid flights of doves. And, spread across the field of the ceiling, some thirty cupids in every attitude of reversal, foreshortening and graceful movement of childlike bodies, bringing to the feet of the small victorious god the attributes of the other divinities' (E. and J. de Goncourt, L'art du XVIIIe siècle, Paris, 1880, I, pp. 431-432).
As a motto and a counsel to the viewer, Saint-Aubin borrows a quotation from Virgil, writing at the bottom of the sheet: 'Omnia Vincit Amor' ('Love conquers all', Virgil, Eclogues, X, line 69).
Fig. 1 G. de St-Aubin, Triumph of Love over All the Gods, oil on canvas, Rouen, musée des Beaux-Arts.
Fig. 2 A. de St-Aubin, Triumph of Love over All the Gods, pen and black and brown ink, wash, Paris, musée du Louvre.
Of great importance within the work of Gabriel de Saint-Aubin, this drawing, lost to view after its appearance in the sale of the Marquis de Biron in Paris in 1914, can be connected with the painting of the Triumph of Love over All the Gods from the former collection of Henri and Suzanne Baderou, who bequeathed their collection, including the painting, to the Musée des Beaux-Arts in Rouen in 1975 (fig. 1; inv. 975.4.154).
Saint-Aubin originally thought of becoming a history painter at the Académie Royale de Peinture. After taking drawing classes from life at the Académie and winning several drawing medals, he competed for the Grand Prix three years in succession from 1752, without success. However, in reality history painting, which demands invention and imagination, held little appeal for him. He loved to draw the world around him. A tireless Parisian walker and celebrated frequenter of Salon exhibitions and auction rooms, he always had a sketchbook in hand, in which he skilfully combined annotations, captions and inscriptions with drawings: 'he knew how to combine word and line in order to create a powerful image' (Rosenberg, op. cit., 2008, p. 14). Yet here, with this allegorical subject, it is indeed his imagination to which Saint-Aubin appeals.
The painted sketch from the former Baderou collection, for which the present drawing is a preparatory work, was conceived as a project for a large painting never executed, and was exhibited at the Salon of the Académie Saint-Luc (no. 54) in 1774, before being lent by its owner, Augustin de Saint-Aubin (1736-1807), Gabriel's brother, to the Salon de la Correspondance in 1783 (no. 97). Whilst it was in his collection, the painted sketch was copied by Augustin when he was only eighteen years old, in the Livre des Saint-Aubin, today preserved in the musée du Louvre (fig. 2; inv. RF 52319). This is the celebrated collection of richly annotated drawings executed by the father of this dynasty of artists, Gabriel-Germain de Saint-Aubin (1696-1756), and his children, the two most celebrated of whom are undoubtedly Gabriel and Augustin. It is a unique document of the 18th century, remarkable above all for the genius of Gabriel, a voracious chronicler of his time who occupies a prominent place in this ensemble.
The drawing by Augustin copied after the present drawing, in brown and grey wash, is perfectly faithful to the painted and drawn original, an allegorical composition such as those that Gabriel so loved to draw (P. Rosenberg, op. cit., 2002, p. 120). This copy confirms the attachment that Augustin must have had for his brother's drawing and its importance within Gabriel's œuvre.
It would be reductive to describe the present drawing as merely preparatory to the painting in the musée des Beaux-Arts in Rouen, for Gabriel de Saint-Aubin was above all a draughtsman and the work also functions independently. Dated 1752, this ceiling study still bears the mark of the ornamental and decorative Rococo style of the artist's father, Gabriel-Germain, and of his elder brother Charles-Germain, draughtsman to the king (S. Folds McCullagh, in Gabriel de Saint-Aubin, exh. cat., 2008, p. 50). It doubtless also owes much to his master François Boucher in this elegant allegory. Here, Love triumphs. Enthroned in light, Cupid receives the trophies of the gods he has conquered: Jupiter's thunderbolt, Venus's chariot, Bacchus's thyrsus, Apollo's lyre, Diana's quiver, Hercules' fleece, Mercury's caduceus and Mars' sword. A festoon of putti swirls through the sky, heightened with blue watercolour and translucent grey and brown wash, lending great dynamism to the entire composition. The balustrades and other architectural elements framing the composition recall here the primary function of the work: a ceiling study.
All of Gabriel's genius comes together in this sheet of rather generous format compared to the many small sketches of the rest of his oeuvre: the freedom of execution, his virtuosity with the pencil, the spontaneity and the carefulness of observation. A kind of 'graphic workshop' that so delighted the Goncourt brothers, who describe the work at length and in detail as 'a rectangular ceiling with rounded and scrolled corners, where the scrollwork of the rocaille is interrupted by a garland of flowers, appearing here and there and dying away between the hands of two cupids who lift the end in order to enchain tigers. At the centre of the ceiling, a small triumphant cupid, his foot upon crowns, holding an arrow like a baton of command, around whom are silhouetted the bodies of naked women amid flights of doves. And, spread across the field of the ceiling, some thirty cupids in every attitude of reversal, foreshortening and graceful movement of childlike bodies, bringing to the feet of the small victorious god the attributes of the other divinities' (E. and J. de Goncourt, L'art du XVIIIe siècle, Paris, 1880, I, pp. 431-432).
As a motto and a counsel to the viewer, Saint-Aubin borrows a quotation from Virgil, writing at the bottom of the sheet: 'Omnia Vincit Amor' ('Love conquers all', Virgil, Eclogues, X, line 69).
Fig. 1 G. de St-Aubin, Triumph of Love over All the Gods, oil on canvas, Rouen, musée des Beaux-Arts.
Fig. 2 A. de St-Aubin, Triumph of Love over All the Gods, pen and black and brown ink, wash, Paris, musée du Louvre.
荣誉呈献
Paul Gallois
Head of European Furniture, EMEA