Lot 9: Jean-Baptiste Santerre Magny-en-Vexin, 1651 - Paris, 1717 Portrait de Madame Pelletier des Forts Huile sur toile

Artcurial

November 14, 2016, 7:00 PM CET
Paris, France
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Description: Jean-Baptiste Santerre Magny-en-Vexin, 1651 - Paris, 1717 Portrait de Madame Pelletier des Forts Huile sur toile Porte une inscription ''PEINT PAR SANTERRE / 1707'' en haut à gauche Portrait of Mrs. Le Pelletier des Forts, oil on canvas, inscribed, by J.-B. Santerre h: 101 w: 81 cm Provenance : Vente anonyme ; Paris, Drouot Montaigne, Couturier-Nicolay, 7 décembre 1990, n°151 (145.000 Fr) ; Vente anonyme ; Paris, Hôtel Drouot, Artus enchères, 21 décembre 2004 ; Collection particulière de l''Est de la France Bibliographie : Père Jacques Lelong, ''Bibliothèque historique de la France (…)'', Paris, 1775, t. IV, p. 246 Alfred Potiquet, ''Jean-Baptiste Santerre, peintre, sa vie et son œuvre'', Paris, 1878, p. 16 Claude Lesné, " J.B. Santerre ", in ''Bulletin de la Société d''Histoire de l''Art Français'', 1988, p. 91 -92, n°17, comme perdu et connu par la gravure des copies Amélie du Closel, ''L''œuvre de Jean-Baptiste Santerre et la question de l'' " hybridation " des genres dans la peinture française'', mémoire de master, Paris, université de Paris X-Nanterre, 2008, p. 68, ill. 74a Claude Lesné, ''Jean-Baptiste Santerre. 1651-1717'', Magny-en-Vexin, 2011, p. 79-80, repr. Commentaire : Gravure : Par Nicolas Chateau, en 1708 Santerre livre le portrait d''une femme vêtue " à l''espagnole ", cadrée à mi-corps, assise dans un fauteuil rouge au galon doré que l''on retrouve dans plusieurs compositions de l''artiste. Le peintre accorde une attention toute particulière à l''exploration psychologique du modèle et insiste sur la spontanéité de l''attitude. L''aisance décontractée de la pose annonce la recherche de naturel qui guidera le portrait au XVIIIe siècle. Les traits peu caractérisés rendent l''identification du modèle incertaine, Santerre faisant généralement fi de la ressemblance. Cependant, le comte de Fossa proposait de reconnaître, dans une copie de notre portrait conservé au musée Tessé du Mans, son ancêtre Madeleine de Lamoignon (1687-1744). Cette dernière était l''épouse de Michel-Robert Le Pelletier des Forts, comte de Saint-Fargeau, contrôleur général des finances sous Louis XV. Notre portrait rend hommage au métier précis et soigné de Santerre. On y retrouve le coloris très personnel de l''artiste, ce dernier n''utilisant habituellement que quatre ou cinq terres pour former ses couleurs et garantir la pérennité de ses tableaux. Le peintre traduit à la perfection les éclats de lumière sur la surface des perles et fait preuve d''une indéniable virtuosité dans la description des carnations veloutées. Par le biais d''une touche modulée et vibrante, il rend admirablement la sensualité des matières, en insistant sur les effets moirés du mouchoir et de la robe sombre. Santerre pare fréquemment ses modèles d''habits de pèlerines ou d''espagnolettes. L''abbé de Chaulieu signale, en 1702, que la mode vint chez les femmes de la Cour de prendre " des coiffures et des espèces d''habits à l''espagnole1 ". Robe de soie noire largement décolletée, manches à crevés et col à godron caractérisent généralement ce costume de théâtre, souvent complété d''un masque et d''une toque à plume. Il est difficile de cerner précisément l''origine de ces figures car il existe un échange constant de thèmes, de personnages, de types entre les diverses scènes de la Comédie Française, de l''Opéra, de la Foire, et à partir de 1716, de la Comédie Italienne. On remarque aussi l''essor d''un goût pour les scènes privées, à la Cour ou à la ville, où jouent des amateurs costumés en types traditionnels de théâtre. Des fêtes galantes nocturnes s''organisent dans les résidences aristocratiques, tels que les bals masqués de Sceaux, du Palais Royal ou de Suresnes, évoquant les ''bals champêtres'', les ''embarquements'' et les ''pèlerinages'' de Watteau. L''emploi des masques est attestée au début du XVIIIe siècle : " [Les parisiennes] ont toutes le privilège d''aller partout toujours masquées, se cachant et se montrant comme bon leur semble. Avec une visière de velours noir elles vont quelquefois à l''église comme à un bal masqué, inconnues à Dieu et à leurs maris² ". Le bal masqué, où se mêlent tous les publics, apparaît ainsi comme un moment privilégié où l''on peut exceptionnellement, grâce à l''anonymat, n''être que soi et se livrer à l''art de la séduction. Santerre joue sur l''ambiguïté de l''atmosphère du bal, avec les jeux du masque mis ou déposé, comme semble vouloir le signifier l''auteur du quatrain accompagnant la gravure de notre portrait : " Quand le masque d''Iris cachoit ses traits divins, Mortels vos cœurs pouvoient differer a se rendre, Mais sitost que ce masque a passé dans ses mains, Il n''est plus tems de vous deffendre3. " Amélie du Closel, septembre 2016 1. Abbé de Chaulieu, ''Œuvres et poésies diverses'', nouvelle édition, Amsterdam 1740, t. I, p. 217. 2. Anonyme, ''An agreeable Criticism of the City of Paris and the French'', 3e édition, Londres, 1708, p. 16. 3. Estampe de Château d''après Santerre, 1708, Paris, BnF, Cabinet des Estampes Da 53a, 84C119316.
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Old Master & 19th Century Art

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Artcurial
November 14, 2016, 7:00 PM CET

Paris, France

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For any heavy or fragile item, we can recommend the shipping companies which are more likely to provide the best service according to the country where you live.

For bidder living outside the EEC, the shipping and delivery expenses depend from the customs regulations of the country of residence. Each bidder has to pay local taxes, on top of the shipping costs. The importation of certain goods depends from on the customs regulations of the country of residence.
For less than 10 bottles, Artcurial's shipping department can provide shipping fares which include softpacking and express couriers.
Otherwise, Artcurial can advise appropriate clearing agent and shippers. Please notice that shipping wines towards some specific countries as USA is very difficult (various constraints related to customs regulation) or impossible.

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