Bon Boullogne’s Circle (paris, 1649 - Ivi, 1717), Venus And Cupid With Baccheta Procession

Bon Boullogne’s Circle (Paris, 1649 - ivi, 1717)
Venus and Cupid with Baccheta procession
Oil on canvas, cm 64 x 94
With frame cm 83,5 x 113

In the painting presents Venus, gently laid on a stone chair with a sumptuous cushion in finely decorated indigo color, indicates a procession of cabbages, In procession on the opposite side of the grassy space. At his side is Cupid, whose bow and quiver are held hostage by the amourino on the ground. The goddess holds a rose in her left hand, symbol of her gracious grace and eternal love that she is charged with dispensing. The allusion to ruinism, synthesized in the short column cut next to the goddess and in the historical vase that houses an exotic agave, makes the composition lyrical, Pulsating with details alluding to the romance. The sophisticated iconography of the painting still records the presence of the golden chariot of Venus, on which is a pair of doves, sacred animals to the goddess; In the distant procession, it is also possible to recognize Bacchus crowned with laurel on a donkey or evening primrose, which medieval bestiaries described as extraordinarily intelligent; This makes explicit the reference to bacchanals, and more generally to the power of the feeling of love, indispensable for human life.
The particular composition, combined with such a delicate coloristic film, declares the evident French scope of this painting. If the models of iconographic choice abound within the Italian cultural basin, it is enough to think of the works of Titian with Ninfa and shepherd (1570-75, Vienna, Kunsthistorisches Museum) for the landscape piece, Rosso Fiorentino with Bacchus, Venus and Love (1531-1532, Luxembourg, Musée national d'histoire et d'art) and Alessandro Rosi with Baccanalia (1670 ca., private collection) for the theme, Alessandro Allori with Venus and Cupid (1570, Uffizi and 1575-80, Montpellier, Musée Fabre) for the total setting of the work, and finally Luca Giordano with Il ratto d'Europa (1675, Saint Petersburg, State Museum of the Hermitage) for the pose of Venus, it is appropriate to imagine a classical formation of the artist of the present, direct contact with the suggestions of the Italian peninsula. The present is based on the pictorial ways of Bon Boullogne, an excellent exponent of the 18th century French. Son of art, Boullogne studied with his father together with brothers and sisters, also painters; the artistic turning point came when he left for Rome, where he stayed between 1670 and 1675, at the Académie de France. The occasion, encouraged by the paternal knowledge of Colbert, then Contrôleur Général des Finances, to whom a painting of Boullogne depicting a Saint John was shown, He even got the financial support of King Louis XIV. In the capital, the artist began to dedicate himself to engraving, and made copies of the Raffaellesche Vatican Rooms for the manufacture of the Gobelins. He drew important lessons from the works of Correggio, the Carracci brothers, Domenichino and Francesco Albani; in 1673 he moved to northern Italy, long stay in the Lombardy territory. He returned to Paris in 1675 and became a member of the Académie Royale, painting for Charles Le Brun and participating in the frescoes of the Grand Gallery at the Louvre. 
The present is comparable to several paintings by Boullogne, which are examples of his entire career. To the Hippomenes and Atalanta (1699, Musée des Beaux-Arts, Tours) belongs the same sophisticated plastic warp that defines the figures; in Neptune’s Triumph (again 1699, Musée des Beaux-Arts, Tours) the same colour scheme is used; from the works Giunone and Flora (1702, collections of the Palace of Versailles) and Venus and Mercury (1688, collection Grand Trianon, Chateau de Versailles) the poses of this Venus have been obtained; finally, from the Venere’s Bath (Bildegalerie Sanssouci, Potsdam) it is possible to appreciate the reddish color of the satyr, characteristic of the chiaroscuro of Boullogne, made of shadows that inflame the volumetries, as happens in the present amorino on the left 

The object is in good condition

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