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The Aeneas Gallery The Aeneas Gallery ... Ever since Primaticcio’s creation of the Gallery of François I at the Chateau of Fontainebleau, in France painted galleries have become an ostentatious political or social statement for those who commission them. There was a wealth of examples in the seventeenth century, many of which have now disappeared. These include the Gallery of the Life of Marie de Medici painted by Rubens (1622-25), the Hall of Mirrors by Charles Le Brun at Versailles (1679-84) and private galleries such as the one in the Hotel Lambert (c.1650-58). In the early eighteenth century examples include the Mississippi Gallery of the Royal Bank (1720) by the Italian painter The Gallery Giovanni Antonio Pellegrini (1675-1741) and the gallery by Charles de La Fosse (1636- of 1716) for financier and collector Pierre Crozat (1705-07). As the century progressed, the fashion waned. Highlights of this historical episode include the Aeneas gallery at the Palais-Royal Columns in Paris, home to the three large canvases by Coypel and distinguished by its artistic value that was acknowledged by its contemporaries : indeed the duke of Orleans soon had an ... engraving made of it. European Art After the death in 1701 of the brother of Louis XIV, his son Philippe, duke of Orleans who from the Fourteenth would become regent when the king died in 1715, asked his chief painter, Antoine Coypel to Eighteenth Century (1661-1722), who was already a celebrity, to decorate a large gallery that he had had built by Jules Hardouin-Mansart in 1698-1700 at the Palais-Royal overlooking the rue de Richelieu. The chosen theme was the story of Aeneas, a Trojan prince who escaped the Greek sack of Troy and wandered through the Mediterranean lands, Sicily and Carthage before arriving in Italy at the behest of Jupiter. He founded Rome, bringing together the local inhabitants and ... the Trojans who had left with him. Virgil recounts this story (29-19 BC) in the form of an epic that defines the mythical and legendary origin of Rome. In the late seventeenth century, Aeneas was often associated with princes and their merits, while Hercules and Apollo represented the figures of kings. The fact the duke of Orleans chose this subject may be due to his political ambitions, although it is difficult to draw a parallel between the episodes in Virgil’s story and events in the duke’s life ; the painted ceilings that celebrate Louis XIV are much more explicit in their associations and symbolic import. At first Coypel adorned the vaulted ceiling between spring 1703 and the end of 1705 with 1 seven paintings, including the central piece Venus imploring Jupiter. Then between 1714 and 8 1717, the duke of Orleans asked him to paint a further seven large canvases to decorate the wall. Among them were the three works dating to the beginning of this period, around 1714- 15, which are now in the Musée Fabre and are well preserved. The other four that were painted later have suffered untimely deterioration as a result of unfortunate experimentations with unstable colours that Coypel had selected for their vibrancy. In 1778, the works were deposited prior to the gallery’s destruction in 1781-83, and then transferred to the Chateau of Saint-Cloud. During the French Revolution they were incorporated into national collections. Three were deposited by the Louvre in museums in the provinces : Aeneas and Anchises* and the Death of Dido* in Montpellier in 1803 ; Aeneas and Achates appearing to Dido* in Arras in 1938 and transferred to Montpellier in 2005 during the refurbishment of the Musée Fabre. The other works are still in the Louvre’s reserve collection or, as in the case of the ceiling, English translation by Susan Schneider translation English destroyed. The study held by the Musée des Beaux-arts in Angers is therefore the only reminder of the vaulted ceiling (fig.1). The set brought together in the Musée Fabre is illustrative of a major decorative element from the end of the reign of Louis XIV and the beginning of the Regency, a period well represented in works by artists including Jean Ranc, Jean Raoux, Louis de Silvestre and Jean-François de Troy. Coypel designed the vaulted ceiling in the tradition of Le Brun following an interplay of false openings in the architecture and added pictures, incorporated like easel paintings. The 1702 sketch of this no longer existent ensemble reveals the illusionistic effect of this call * An asterisk indicates that the work mentionned is displayed in the room fig.1- Antoine Coypel Vénus Imploring Jupiter (study) © Angers museum. Photograph Pierre David for light (fig.1). On the walls, paintings are alternated vertically and horizontally. Coypel made many preparatory drawings of detail and of the overall effect (fig.2). His is a synthesis of the grace of Correggio, particularly in his female figures and the warm tones and dynamic compositions of Rubens. He also uses very bold and lyrical colour combinations of green, violet, red and yellow. In Aeneas and Anchises* (Aeneid, II), the Trojan prince flees from the sack and burning fig.2- Antoine Coypel Study for Aeneas and Anchises of Troy with his Paris, Musée du Louvre, Cabinet des dessins son Ascanius All rights reserved and bearing his elderly father Anchises who is holding the Penates. Wedged between the architectural elements, the group combines a sense of solidity and an upwardly spiralling movement. Coypel brings together the Baroque dynamism of Rubens and Le Brun’s resolute drawing. Aeneas and Achates appearing to Dido in the Temple* shows the hero in Carthage after his shipwreck. A cloud obscures his arrival, along with his loyal Achates, in the Temple of Juno, where Dido was already receiving the other Trojans begging for her help. The cloud disappears to reveal Aeneas to an astonished Dido, who was already in love. The highly theatrical attitudes and composition are reminiscent of Coypel’s Athalie in the Louvre (1696) and his Susanna accused of Adultery in the Prado (1695). The composition of the Death of Dido* (Aeneid, IV) is equally dramatic and effective, with curved lines matching in rising arabesques. Having pierced her breast, Dido on her funeral pyre is attended by maidservants and her sister Anna, while Iris sent by the Gods cuts a lock of her hair thus severing her link to life. Reception Pieces for the Royal Academy of Painting and Sculpture ... The museum created in Montpellier during the French Revolution to preserve artworks that had been seized in churches and convents found its collections considerably enriched with the State loan of thirty paintings in 1803, including a coherent ensemble of eleven reception pieces for the Royal Academy of Painting and Sculpture. Founded in 1648, the Academy taught artistic practice based on drawing, the study of nudes, antiquity and classical Italians, as well as courses in art theory. A painter who wished to enter the Academy had to present his work to its members for approval. If the work was The Gallery accepted, the next step was to execute a painting on a chosen subject – the reception piece of – in a given format to determine whether the artist was worthy of admittance to the Academy. This was done via a system of votes. The work then became the property of the Academy and Columns this important collection was seized during the Revolution and dispersed among provincial ... museums, including that of Montpellier. Around 1700 European Art from the Fourteenth When Antoine Coypel (1661-1722) was admitted to the Academy with his Louis XIV in Glory to Eighteenth Century After the Peace of Nijmegen in 1678*, the debate between the Academy, in favour of Poussin (1594-1665) and the primacy of drawing, and Roger de Piles (1635-1709), who strove for recognition of Rubens (1577-1640), the Venetians and the importance of colour, was finally won by the latter. Coypel painted in attractive warm tonalities with broad brushwork and compositions brought to life through dynamic curves. He was to impose a revival of history ... painting marked by the art of Rubens. Corneille van Clève (1644-1735), a sculptor who worked on the decoration of the Palace at Versailles, used terracotta for the model of his 1681 marble reception piece, Polyphemus*, now at the Louvre. The classical reference in the Academy brief lies in the reworking of the Cyclops’ pose as painted by Annibale Carracci (1560-1609) in the Farnese Gallery in Rome. Along with these innovations drawn from Flemish art, the French style born of Le Brun (1619-1690) was to endure, gaining in grace often taken from the Italian models of Albani 1 (1578-1660) and Corregio (1489/94 ? -1534). Evidence of this is Bon Boullogne (1649-1717), who was employed by Le Brun in Versailles, the director of a large studio in which Louis de 8 Silvestre (1675-1760) worked. Silvestre applied to the Academy with his Prometheus Making Man aided by Minerva* in 1702. Silvestre was adept at peopling the landscape with figures, whose suave elegance was inspired by his master. He was to make his career at the Court of Dresden in Germany, as was Jacob van Schuppen (1670-1751), the son of a Flemish engraver and trained under Largillière (1656-1746). His 1704 reception piece, The Hunt of Meleager and Atalanta* with the emphatic lines of its drawing, is captivating in the smoothness of its workmanship that does justice to the materials and its vigorous depiction of the face of the horn-blower and the animals reminiscent of those of the Antwerp painters, Jacob Jordaens (1593-1678) and Frans Snyders (1579 ? -1657).
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