Pierre Charles Trémolières (Cholet, 1703 - Paris, 1739)
Allegory of Sculpture
Oil on canvas
112 x 86 cm. In original lacquered frame 122 x 95 cm.
Work accompanied by expertise from Prof. Emilio Negro
Complete details of this painting (click HERE)
The painting is well preserved and depicts a refined iconography inspired by learned classical literary models linked to the myth of Mount Parnassus, the Greek height on which the Temple of Delphi stood and from which the waters of the celebrated Castalian spring, dedicated to Apollo and populated by the Muses, the source of inspiration and poetry, sprang forth.
Our canvas depicts one of the legendary divinities that inspired creative fervor, which over the centuries acquired a specific influence in the fields of art and knowledge: in this case, it is the Allegory of Sculpture, seated on clouds amidst flowers and tools of the trade (a marble slab with a sketched bas-relief, a ruler, and a compass), elegantly dressed in silk with her head crowned with buds; she also holds on her lap a male bust which she is roughing out with a mallet and chisel.
The learned subject illustrated and the peculiar dimensions of the painting suggest that it was originally an elegant "sopraporta" (overdoor) intended to embellish the boiserie of the "studiolo" (study) of an ancient noble palace belonging to a man of letters with a passion for music and the arts.
Regarding the stylistic characteristics of this Allegory, they highlight the work of an artist of French school active in the 18th century, endowed with an elegantly relaxed creative vein and a happy predisposition for easel paintings of a profane theme. The seductive representation is, in fact, inspired by the best models of similar subjects produced between France and Italy in the mid-eighteenth century: primarily the compositions of the French master Jean-Baptiste van Loo, from whom our Allegory draws inspiration for its refined style imbued with joyful theatricality.
Both the type of fluid painting with bright but blended colors, and the effective scenic framing, indeed refer to the best French and Italian figurative culture of the Age of Enlightenment, and the comparison with similar works by Pierre Charles Trémolières (Cholet, 1703-Paris, 1739) allows us to connect our painting to the modus operandi of this interesting painter.
A talented scion of a noble family originating from the Loire region, Trémolières was invited to Paris by the Count of Caylus, his close relative, who managed to have him admitted to the prestigious Parisian workshop of Jean-Baptiste Van Loo, allowing him to win the second prize of the prestigious Grand Prix de Rome (1726) and subsequently to be admitted to the French Academy in Rome.
After a multi-year stay in the papal capital, now famous and established, he was recalled to his homeland where, at the height of his career, he was appointed in charge of the decorations of the Hôtel de Soubise, one of the most important Parisian residences (now the seat of the French National Archives), working alongside other great painters such as François Boucher and Carle Van Loo.
In 1738, he previewed at the Paris Salon a beautiful painting 'Hercules and Hebe' destined to adorn the walls of the aforementioned important noble residence, which is still located in the prince's bedroom today.
Pierre-Charles Trémolières, Hercules and Hebe, Paris, Hôtel de Soubise (Prince's Chamber) (fig.1)
These prestigious commissions, along with the pleasantness of his paintings, earned him a deserved fame that made him one of the most sought-after artists by Parisian nobles and wealthy bourgeois.
Therefore, to support the proposed attribution, it will suffice to compare our beautiful Allegory, in addition to the aforementioned work, with others attributed to the French master, works in which the refined stylistic elements usually employed by Pierre Charles Trémolières are equally evident.
Among these, for example:
Pierre-Charles Trémolières, Venus and Cupid (Louvre, Paris) (fig.2)
https://collections.louvre.fr/en/ark:/53355/cl010054925
Pierre-Charles Trémolières, Allegory of Comedy (The Metropolitan Museum of Art, New York) (fig.3)
https://www.metmuseum.org/art/collection/search/437844
Pierre-Charles Trémolières, Venus holding a bow and quiver and Cupid holding an arrow
(Christie’s 31.01.2023, Old Master Paintings and Sculpture Online, New York) (fig.4)
https://onlineonly.christies.com/s/old-master-paintings-sculpture-online/pierre-charles-tremolieres-...
Pierre-Charles Trémolières, Venus and Cupid (Artcurial, Paris France, November 08, 2011) (fig.5)
https://www.artcurial.com/ventes/1995/lots/31-a
Pierre-Charles Trémolières, The Triumph of Galatea (Asta Tajan Paris, June 12, 1995) (fig.6)
Pierre-Charles Trémolières, Flora and putto, private collection (fig.7)
ADDITIONAL INFORMATION:
The work is completed by a pleasant antique lacquered wooden frame in turquoise color and is sold with a certificate of authenticity and a descriptive iconographic sheet.
We handle and organize the transport of purchased works, both within Italy and abroad, through professional and insured carriers. Should you wish to view this or other works in person, we will be happy to welcome you to our new gallery in Riva del Garda, at Viale Giuseppe Canella 18. We look forward to seeing you!
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