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Boucher's Triumph of Venus in the Nationalmuseum, Stockholm Art Bulletin of Nationalmuseum Stockholm Volume 23 “Cospetto! Che bella cosa!”, “My what a beautiful thing!” Boucher’s Triumph of Venus in the Nationalmuseum, Stockholm Colin B. Bailey, Director, The Morgan Library & Museum, New York Art Bulletin of Nationalmuseum, Stockholm, © The National Library of Sweden, Stockholm Graphic Design is published with generous support from (Fig. 4, p. 38. Fig. 21, p. 211. Fig. 28, p. 215) BIGG the Friends of the Nationalmuseum. © Alte Nationalgallerie, Berlin (Fig. 2, p. 40) Layout Nationalmuseum collaborates with © Hamburger Kunsthalle, Hamburg Agneta Bervokk Svenska Dagbladet and Grand Hôtel Stockholm. (Fig. 3, p. 41) We would also like to thank FCB Fältman & © Neue Pinakothek, Munich Translation and Language Editing Malmén. (Fig. 5, p. 43) Gabriella Berggren, William Jewson, David Jones © The Morgan Library & Museum, New York and Martin Naylor Cover Illustration (Fig. 4, p. 109. Fig. 32–33, p. 217) Christoffer Wilhelm Eckersberg (1783–1853), © The Matthiesen Gallery, London Publishing Danish. “Ciociara”– Portrait of a Roman Country Girl, (Fig. 1, p. 108) Ludvig Florén, Magnus Olausson (Editors) and 1816. Oil on canvas, 52 x 46.5 cm. Purchase: Wiros © The Ashmolean Museum, Oxford Ingrid Lindell (Publications Manager) Fund. NM 7334. (Fig. 2, p. 122) © Minneapolis Institute of Art, Minneapolis Art Bulletin of Nationalmuseum is published Publisher (Fig. 3, p. 123) annually and contains articles on the history and Berndt Arell, Director General © Robilant + Voena theory of art relating to the collections of the (Fig. 4, p. 124) Nationalmuseum. Editor © The Swedish National Archives, Stockholm Ludvig Florén and Magnus Olausson (Fig. 3, p. 204) Nationalmuseum © The Nelson-Atkins Museum of Art, Kansas City. Box 16176 Editorial Committee Photo: Joshua Ferdinand SE–103 24 Stockholm, Sweden Janna Herder, Linda Hinners, Merit Laine, (Fig. 4, p. 205) www.nationalmuseum.se Lena Munther, Magnus Olausson, Martin Olin, © Musée du Louvre, Paris. RMN-Grand Palais/Art © Nationalmuseum, the authors and the owners of Maria Perers and Lidia Westerberg Olofsson Resource, NY the reproduced works (Fig. 5, p. 205) Photographs © Kunsthistoriches Museum, Vienna ISSN 2001-9238 Nationalmuseum Photographic Studio/ (Fig. 8, p. 207) Linn Ahlgren, Bodil Beckman, Erik Cornelius, © The J. Paul Getty Museum, Los Angeles. Anna Danielsson, Cecilia Heisser, Sofia Persson, Digital image courtesy of the Getty’s Open Content Per-Åke Persson and Hans Thorwid Program (Fig. 10, p. 208. Fig. 30, p. 216) Picture Editor © Rijksmuseum, Amsterdam Rikard Nordström (Fig. 11, p. 208) © The Metropolitan Museum of Art, New York Photo Credits (Fig. 18, p. 210. Fig. 23, p. 212. Fig. 31, p. 216) © Thorvaldsens Museum, Copenhagen © Philadelphia Museum of Art, Philadelphia (Fig. 5, p. 21. Fig. 1, p. 36) (Fig. 24, p. 213. Fig. 26, p. 214) © Amsterdams Historisch Museum, Amsterdam © Indianapolis Museum of Art, Indianapolis. (Fig. 2, p. 32) John Herron Fund. © Trustees of the British Museum, London (Fig. 25, p. 213) (Fig. 3, p. 33. Fig. 6, p. 38) © Stockholms auktionsverk © The Cleveland Museum of Art, Cleveland (Fig. 8, p. 136) (Fig. 2, p. 36) Art Bulletin of Nationalmuseum Volume 23, 2016 4 tessin lecture/“cospetto! che bella cosa!”, “my what a beautiful thing!” “Cospetto! Che bella cosa!”, “My what a beautiful thing!” Boucher’s Triumph of Venus in the Nationalmuseum, Stockholm1 Colin B. Bailey Director, The Morgan Library & Museum, New York In the summer of 1896 – a decade after the competition for the decoration of the staircase hall of Stockholm’s Nationalmuseum had been launched – the forty-three-year-old artist Carl Larsson (1853–1919) unveiled six wall panels adorning the lower staircase of the Grand Entry. His series celebrated the historical origins of the Swedish national collections, from the painter David Ehrenstrahl to the sculptor Tobias Sergel, and his third mural serves to introduce the subject of this article (Fig. 2).2 An immaculately bewigged Count Carl Gustaf Tessin (1695–1770) is shown reviewing engravings with his sovereign, Queen Lovisa Ulrika – whom he had accompanied from Berlin to Stockholm in July 1744 on the occasion of her marriage to the heir to the throne designate, Prince Adolf Frederik of Holstein-Gottorp. With her courtiers admirably immersed in study- ing folio sheets of old master prints and drawings, everyone seems unaware of the arrival of Boucher’s Triumph of Venus in its splendid frame that is being unveiled and Fig. 1 François Boucher (1703–1770), The Triumph of Venus, 1740. Oil on canvas, 130 x 162 cm. born aloft by a trio of putti. We favor more Nationalmuseum, Stockholm, NM 770. secure methods of art transportation and installation today. 207 Art Bulletin of Nationalmuseum Volume 23, 2016 tessin lecture/“cospetto! che bella cosa!”, “my what a beautiful thing!” Fig. 2 Carl Larsson (1853–1919), Queen Lovisa Ulrika and Count Gustaf Tessin, Fig. 3 Carl Gustaf Tessin (1695–1770), Handwritten Account Books, Tessin 1896. Fresco. Nationalmuseum, Stockholm. Collection, vol. II, August 26, 1740. National Archives, Stockholm, E 5720. Boucher’s Triumph of Venus painted for which most assuredly consists of only the zephyrs: Paphos’s entire army, with the sea Count Tessin in the summer of 1740 most beautiful things, containing not only nymphs encircling her in the waves.”5 was sold, along with much of his superb the very best works of the French modern Then as now, Boucher’s Triumph of collection of paintings to King Fredrik I in school, but also those of the old masters.”4 Venus held pride of place in Tessin’s December 1749 (Fig. 1). In dire financial In the late 1760s, the painting – now collection; it is generally considered the straits, Tessin had initially arranged for in Drottningholm – would inspire one artist’s most beautiful mythological paint- his collection to be auctioned in Amster- of the most rousing of Carl Michael ing. Boucher charged Tessin 1,600 livres dam through the offices of the Swedish Bellman’s Fredman’s Epistles: “Blåsen nu for the painting and the frame – we note, merchant Claes Grill (1705–1767). At the alla, number 25”. The poem begins: in Tessin’s immaculate accounts, “Boucher last minute, the aging King made a New “Blow now your trumpets/Hark the Waves för måhlingen och ramen” (Fig. 3) – and Year’s Gift of Tessin’s collection to the Swelling and the Thunder Rumbling/Venus the Ambassador remitted payment on 26 Crown Prince and Princess.3 Lovisa Ulrika rules where Neptune Dwells. Swim all ye August 1740.6 This was by far the most informed her mother, Sofia Dorothea, Tritons/ and Sing ye millions in praise of money that Tessin would spend on a single Queen Dowager of Prussia: “The King Frojal. Respond ye Postillions in Neptune’s painting during the three years he resided has given me a present of the magnificent court! Behold Venus in all her Glory. Keeping in Paris as Ambassador without Portfolio picture cabinet of the comte de Tessin, guard around her, are putti, dolphins, and – “sans caractère” – between July 1739 Art Bulletin of Nationalmuseum Volume 23, 2016 208 tessin lecture/“cospetto! che bella cosa!”, “my what a beautiful thing!” Fig. 4 François Boucher (1703–1770), View of a Mill with Distant Temple, 1740. Fig. 5 François Boucher (1703–1770), Forest Scene with Two Roman Soldiers, Oil on canvas, 126.5 x 160 cm. The Nelson-Atkins Museum of Art, Kansas City, 1740. Oil on canvas, 131 x 163 cm. Musée du Louvre, Paris, M.N.R. 894. 59-1. and July 1742. It was his fourth visit to the yet to receive payment when he delivered holds her conveyance steady – five city, and would be his last. The following the picture to the Salon. Tessin’s name Nereids, beautiful, melodious sea-nymphs year, in 1741 Tessin bought more than does not appear as the owner of this who could be helpful and kind to sailors, two thousand old master and modern painting in the livret, although the Swedish and a junior, conch-blowing triton, who drawings from the Crozat sale for just over Ambassador was represented at the Salon is just visible in the waves at far left. 5,000 livres, and these still form the core by two other significant commissions: Also depicted are five doves and three of the Nationalmuseum’s exceptional Aved’s portrait of him in his library dolphins. graphic collection today.7 (Fig. 6) and Oudry’s portrait of his Serene amidst this jubilant and noisy The Triumph of Venus was one of three beloved dachshund, Pehr (Fig. 7).9 To be celebration, Venus is shaded from the sun paintings of the same dimensions, each absolutely secure in his ownership, per- by a swirling canopy of pink and white signed and dated “1740,” that Boucher haps, Tessin remitted payment to the artist silk, held aloft by three of the gamboling exhibited at the Salon of 1740, which four days after the Salon opened its doors. putti. A red-haired Nereid, supported by took place in the Louvre that year between Boucher’s Birth of Venus – as it was a muscular Triton with seaweed dripping August 22 and September 15. This un- entitled at the Salon of 1740 – shows from his head – inspired, perhaps, by a usual “triptych” comprised, in addition, Venus, the goddess of love, on a glorious sculpture such as Giambologna’s Hercules a pair of landscapes painted for another summer’s day, emerging fully formed from and Antaeus (Fig. 8) – offers the goddess a discriminating collector, the fermier-général the ocean.10 She is portrayed with a blush shell filled with pearls. In the foreground, Marin de La Haye: the View of a Mill with of red on her cheeks, pearls entwined in her companions disport themselves in Distant Temple (Fig. 4), and Forest Scene with her hair, and her snow-white body is languorous and voluptuous poses.
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