/https%3A%2F%2Fprofilepics.canalblog.com%2Fprofilepics%2F1%2F0%2F100183.jpg)
/https%3A%2F%2Fstorage.canalblog.com%2F03%2F02%2F119589%2F96711876_o.jpg)
/https%3A%2F%2Fstorage.canalblog.com%2F11%2F31%2F119589%2F94773502_o.jpg)
/https%3A%2F%2Fstorage.canalblog.com%2F20%2F83%2F119589%2F94772815_o.jpg)
/https%3A%2F%2Fstorage.canalblog.com%2F26%2F72%2F119589%2F75604929_o.jpg)
/https%3A%2F%2Fstorage.canalblog.com%2F59%2F60%2F119589%2F26458628_o.jpg)
23 mai 2018
Clark Art Institute acquires Guillaume Guillon Lethière's masterpiece 'Brutus Condemning His Sons to Death'
Guillaume Guillon Lethière (Sainte-Anne, Guadeloupe 1760–1832 Paris), Brutus Condemning His Sons to Death, 1788. Oil on canvas, 23.375” x 39” (59.4 x 99.1 cm.). © Clark Art Institute.
WILLIAMSTOWN, MASS.- The Clark Art Institute today announced the recent acquisition of Brutus Condemning His Sons to Death, an important early work by neoclassical French artist Guillaume Guillon Lethière (1760–1832), marking a significant addition to its permanent collection.
Completed in 1788 when Lethière was at the French Academy in Rome, and subsequently displayed at the Salons of 1795 and 1801, the painting depicts a dramatic scene featuring the decapitation of one of the sons of Lucius Junius Brutus. Brutus led the 509 BC revolt to overthrow the last king of Rome and establish the Roman Republic, swearing a sacred oath before its citizens that Rome would never again be subject to the rule of a king. When his two sons were later discovered to be among the conspirators attempting to restore the monarchy, Brutus demonstrated his commitment to the Republic by ordering and then witnessing the execution of his own children. Painted before the onslaught of the French Revolution, Lethière’s composition is eerily prescient in its moralizing message and its brutal iconography. Brutus’s willingness to prioritize the interests of his country above his own made him an exemplar of Republican duty and stoicism. The tale inspired Voltaire and other leaders of the French Enlightenment to establish Brutus as a foundational hero of the French Republic. Brutus Condemning His Sons to Death is the first of two paintings on the subject executed by Lethière. The second version is in the collection of the Musée du Louvre, Paris.
“We are truly thrilled to add this magnificent painting to our permanent collection,” said Olivier Meslay, the Hardymon Director of the Clark. “This is Guillaume Guillon Lethière’s masterpiece, and it is a transformative moment for our collection. Brutus Condemning His Sons to Death is important both for its masterful execution and for its place in the canon of world and art history. It is an iconic and prophetic painting that struck a chord with the French public at a moment when history’s role in understanding and interpreting contemporary issues was perhaps never more instructive or imperative.”
The painting has been in private hands for more than two centuries. A preparatory drawing by Lethière (c. 1788) and a stipple engraving dated 1794 by Pierre Charles Coqueret (Paris 1761–1832) after Lethière’s painting were also acquired. The purchase, made at auction, was approved by the Clark’s Board of Trustees according to the Institute’s acquisitions policies, and funded through a special art acquisition fund.
Noted scholar Henry Louis Gates, the Alphonse Fletcher University Professor and Director of the Hutchins Center for African and African American Research at Harvard University, said of the acquisition, “I was delighted to hear that the Clark has acquired an important painting by Guillaume Guillon Lethière, who is widely recognized as the first major French artist of African descent. His celebration as an artist of great skill and significance is long past due.” Gates edits The Image of the Black in Western Art (Harvard University Press and the W. E. B. Du Bois Research Institute at the Hutchins Center for African and African American Research) along with David Bindman, professor emeritus of art history at University College London. The landmark research project and publication series is devoted to the systematic investigation of how people of African descent have been perceived and represented in art. A synopsis of Lethière’s career is featured in Vol. 3.3 of the publication.
“The significance of this painting cannot be overstated,” said Esther Bell, the Clark’s Robert and Martha Berman Lipp Senior Curator of Painting and Sculpture. “Completed early in Lethière’s career, this is an icon of French painting and French history. By 1788, the twenty-eight-year-old Lethière was already in full command of his talent. Lethière likely could not have imagined it at the time, but his painting would be publicly exhibited during the height of the French Revolution, and would inspire his contemporaries to contemplate the democratic principles at the heart of their tumultuous society. Like his contemporary, Jacques-Louis David, Lethière played a critical role in promoting the artistic tenets of the Enlightenment.”
Bell led the Clark’s effort in pursuing the acquisition of the Lethière painting and related works on paper.
“It is an exhilarating moment for the Clark,” Bell noted. “I look forward to installing the Lethière in our galleries and sharing the story of this painting and this important artist with our visitors.”
While the unlined painting is “in remarkably good condition,” Bell said the objects will undergo examination and conservation before going on view in the Clark’s galleries later this year.
Future programmatic plans include an exhibition related to Lethière’s work and an introductory lecture by Bell when the painting goes on view in the Clark’s galleries.
The life and career of Guillaume Guillon Lethière (1760–1832) are extraordinary. Born in the French colony of Guadeloupe, he was the son of Pierre Guillon, a French government official, and Marie-Françoise Pepayë, an emancipated African slave. He was called “Le Thière,” a reference to his status as his father’s third illegitimate child. Lethière moved to France with his father at the age of fourteen, studying with Jean-Baptiste Descamps in Rouen for three years before entering the studio of Gabriel-François Doyen at the Académie Royale de Peinture et de Sculpture in Paris. He submitted works for the Prix de Rome in 1784 and 1786 and secured a Roman pension in 1786.
Lethière remained in Rome until 1791 before returning to Paris, where he opened a studio that competed with that of Jacques-Louis David. His ethnicity caused Lethière’s contemporaries to refer to him as a “man of color” and “l’Americain.” Napoleon’s brother Lucien Bonaparte was his close supporter, and he was rumored to have fathered an illegitimate child with Lethière’s wife while on a group trip to Spain in 1801. On his return to Paris, Lethière killed a soldier during a dispute, and as a result, his studio was closed by government officials. Despite this, Lucien Bonaparte interceded on the artist’s behalf, helping him to secure an appointment as the Director of the Académie de France in Rome at the Villa Medici. Pensionnaires at the academy during Lethière’s tenure as director from 1807–1814 included Jean-Auguste-Dominique Ingres, Merry-Joseph Blondel, and David d’Angers, among others. During this time, Ingres sketched Lethière (Morgan Library & Museum) as well as members of his family, as evidenced in the beautiful sheet, Madame Guillaume Guillon Lethière and her son Lucien Lethière (Metropolitan Museum of Art).
With the Bourbon Restoration, Lethière lost his position as director in Rome and returned to Paris, where he took on private students. After initially being rejected—likely on the basis of either his race or his political alignments—Lethière was admitted to the Institut de France in 1818. He was awarded the Légion d’honneur in the same year. In 1819, he became a professor at the École des Beaux-Arts, where he worked until his death. His studio included several students from Guadeloupe, notably Jean-Baptiste Gibert and Benjamin Rolland. Despite living the majority of his life in France, Lethière’s strong identification with his place of birth never diminished.
In 1822 Lethière sent a monumental canvas measuring thirteen by ten feet, Oath of the Ancestors, as a gift to the Haitian people commemorating the nation’s independence and resistance to colonization. The painting represents the alliance of a black officer and a slave leader standing under God; it hung in the cathedral of Port-au-Prince until it was moved to the presidential residence. Although the painting sustained significant damage as a result of the 2010 Haitian earthquake, it has since been restored and is one of Haiti’s most celebrated cultural assets. Lethière signed this work with his name and dual-national identities, noting both his birthplace as Guadeloupe and his then-current residence in Paris.
Lethière, along with Jacques-Louis David and Jean Germain Drouais, ranks as one of the most important neoclassical artists of the late eighteenth- and early nineteenth-centuries.
Completed in 1788 when Lethière was at the French Academy in Rome, and subsequently displayed at the Salons of 1795 and 1801, the painting depicts a dramatic scene featuring the decapitation of one of the sons of Lucius Junius Brutus. Brutus led the 509 BC revolt to overthrow the last king of Rome and establish the Roman Republic, swearing a sacred oath before its citizens that Rome would never again be subject to the rule of a king. When his two sons were later discovered to be among the conspirators attempting to restore the monarchy, Brutus demonstrated his commitment to the Republic by ordering and then witnessing the execution of his own children. Painted before the onslaught of the French Revolution, Lethière’s composition is eerily prescient in its moralizing message and its brutal iconography. Brutus’s willingness to prioritize the interests of his country above his own made him an exemplar of Republican duty and stoicism. The tale inspired Voltaire and other leaders of the French Enlightenment to establish Brutus as a foundational hero of the French Republic. Brutus Condemning His Sons to Death is the first of two paintings on the subject executed by Lethière. The second version is in the collection of the Musée du Louvre, Paris.
“We are truly thrilled to add this magnificent painting to our permanent collection,” said Olivier Meslay, the Hardymon Director of the Clark. “This is Guillaume Guillon Lethière’s masterpiece, and it is a transformative moment for our collection. Brutus Condemning His Sons to Death is important both for its masterful execution and for its place in the canon of world and art history. It is an iconic and prophetic painting that struck a chord with the French public at a moment when history’s role in understanding and interpreting contemporary issues was perhaps never more instructive or imperative.”
The painting has been in private hands for more than two centuries. A preparatory drawing by Lethière (c. 1788) and a stipple engraving dated 1794 by Pierre Charles Coqueret (Paris 1761–1832) after Lethière’s painting were also acquired. The purchase, made at auction, was approved by the Clark’s Board of Trustees according to the Institute’s acquisitions policies, and funded through a special art acquisition fund.
Noted scholar Henry Louis Gates, the Alphonse Fletcher University Professor and Director of the Hutchins Center for African and African American Research at Harvard University, said of the acquisition, “I was delighted to hear that the Clark has acquired an important painting by Guillaume Guillon Lethière, who is widely recognized as the first major French artist of African descent. His celebration as an artist of great skill and significance is long past due.” Gates edits The Image of the Black in Western Art (Harvard University Press and the W. E. B. Du Bois Research Institute at the Hutchins Center for African and African American Research) along with David Bindman, professor emeritus of art history at University College London. The landmark research project and publication series is devoted to the systematic investigation of how people of African descent have been perceived and represented in art. A synopsis of Lethière’s career is featured in Vol. 3.3 of the publication.
“The significance of this painting cannot be overstated,” said Esther Bell, the Clark’s Robert and Martha Berman Lipp Senior Curator of Painting and Sculpture. “Completed early in Lethière’s career, this is an icon of French painting and French history. By 1788, the twenty-eight-year-old Lethière was already in full command of his talent. Lethière likely could not have imagined it at the time, but his painting would be publicly exhibited during the height of the French Revolution, and would inspire his contemporaries to contemplate the democratic principles at the heart of their tumultuous society. Like his contemporary, Jacques-Louis David, Lethière played a critical role in promoting the artistic tenets of the Enlightenment.”
Bell led the Clark’s effort in pursuing the acquisition of the Lethière painting and related works on paper.
“It is an exhilarating moment for the Clark,” Bell noted. “I look forward to installing the Lethière in our galleries and sharing the story of this painting and this important artist with our visitors.”
While the unlined painting is “in remarkably good condition,” Bell said the objects will undergo examination and conservation before going on view in the Clark’s galleries later this year.
Future programmatic plans include an exhibition related to Lethière’s work and an introductory lecture by Bell when the painting goes on view in the Clark’s galleries.
The life and career of Guillaume Guillon Lethière (1760–1832) are extraordinary. Born in the French colony of Guadeloupe, he was the son of Pierre Guillon, a French government official, and Marie-Françoise Pepayë, an emancipated African slave. He was called “Le Thière,” a reference to his status as his father’s third illegitimate child. Lethière moved to France with his father at the age of fourteen, studying with Jean-Baptiste Descamps in Rouen for three years before entering the studio of Gabriel-François Doyen at the Académie Royale de Peinture et de Sculpture in Paris. He submitted works for the Prix de Rome in 1784 and 1786 and secured a Roman pension in 1786.
Lethière remained in Rome until 1791 before returning to Paris, where he opened a studio that competed with that of Jacques-Louis David. His ethnicity caused Lethière’s contemporaries to refer to him as a “man of color” and “l’Americain.” Napoleon’s brother Lucien Bonaparte was his close supporter, and he was rumored to have fathered an illegitimate child with Lethière’s wife while on a group trip to Spain in 1801. On his return to Paris, Lethière killed a soldier during a dispute, and as a result, his studio was closed by government officials. Despite this, Lucien Bonaparte interceded on the artist’s behalf, helping him to secure an appointment as the Director of the Académie de France in Rome at the Villa Medici. Pensionnaires at the academy during Lethière’s tenure as director from 1807–1814 included Jean-Auguste-Dominique Ingres, Merry-Joseph Blondel, and David d’Angers, among others. During this time, Ingres sketched Lethière (Morgan Library & Museum) as well as members of his family, as evidenced in the beautiful sheet, Madame Guillaume Guillon Lethière and her son Lucien Lethière (Metropolitan Museum of Art).
With the Bourbon Restoration, Lethière lost his position as director in Rome and returned to Paris, where he took on private students. After initially being rejected—likely on the basis of either his race or his political alignments—Lethière was admitted to the Institut de France in 1818. He was awarded the Légion d’honneur in the same year. In 1819, he became a professor at the École des Beaux-Arts, where he worked until his death. His studio included several students from Guadeloupe, notably Jean-Baptiste Gibert and Benjamin Rolland. Despite living the majority of his life in France, Lethière’s strong identification with his place of birth never diminished.
In 1822 Lethière sent a monumental canvas measuring thirteen by ten feet, Oath of the Ancestors, as a gift to the Haitian people commemorating the nation’s independence and resistance to colonization. The painting represents the alliance of a black officer and a slave leader standing under God; it hung in the cathedral of Port-au-Prince until it was moved to the presidential residence. Although the painting sustained significant damage as a result of the 2010 Haitian earthquake, it has since been restored and is one of Haiti’s most celebrated cultural assets. Lethière signed this work with his name and dual-national identities, noting both his birthplace as Guadeloupe and his then-current residence in Paris.
Lethière, along with Jacques-Louis David and Jean Germain Drouais, ranks as one of the most important neoclassical artists of the late eighteenth- and early nineteenth-centuries.
/http%3A%2F%2Fstorage.canalblog.com%2F20%2F74%2F119589%2F122298124_o.jpg)
/http%3A%2F%2Fstorage.canalblog.com%2F76%2F81%2F119589%2F111978360_o.jpg)
/http%3A%2F%2Fstorage.canalblog.com%2F76%2F50%2F119589%2F111370157_o.jpg)
/http%3A%2F%2Fstorage.canalblog.com%2F85%2F34%2F119589%2F95266125_o.jpg)
Publicité
Publicité
Commentaires