Pierre Charles Trémolières, Allegory of Poetry, 1730, Oil on Canvas, Framed

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Pierre Charles Trémolières (Cholet, 1703 - Paris, 1739)

Allegory of Poetry (the Muse Calliope)

Oil on canvas, 112 x 86 … Read more Pierre Charles Trémolières (Cholet, 1703 - Paris, 1739)

Allegory of Poetry (the Muse Calliope)

Oil on canvas, 112 x 86 cm (In original lacquered frames, 122 x 95 cm)

Work accompanied by an expert opinion by Prof. Emilio Negro

The painting is well preserved and depicts a refined iconography inspired by classical literary models linked to the myth of Mount Parnassus, the Greek hill on which the Temple of Delphi stood and the waters of the famous Castalda spring gushed forth, dedicated to Apollo and populated by the Muses, a source of inspiration and poetry.

Our canvas depicts one of the legendary goddesses who inspired creative fervor and, over the centuries, acquired a specific influence in the fields of art and knowledge. In this case, Calliope, the Muse of Poetry, is depicted seated on clouds among flowers, holding the lyre (which accompanies her song) and the trumpet (symbol of fame). Dressed in silk, her head crowned with blossoms, she is depicted holding a chaplet of corollas, a sheet of paper, and a voluminous book of poems.

The scholarly subject illustrated and the painting's unusual size suggest that it was originally an elegant "overdoor" intended to adorn the wood paneling of the "studiolo" of an ancestral noble palace owned by a literary man with a passion for music and the arts.

The stylistic characteristics of this Allegory of Poetry highlight the work of a French artist active in the 18th century, gifted with an elegantly casual creative streak and a successful flair for easel paintings with secular themes. The seductive depiction is indeed inspired by the finest models of similar subjects produced in France and Italy in the mid-18th century: primarily the compositions of the French master Jean-Baptiste van Loo, from whom our Allegory draws its refined style imbued with a joyful theatricality.

Both the fluid painting style with its bright yet nuanced colors and the effective scenographic approach hark back to the finest French and Italian figurative culture of the Age of Enlightenment, and comparison with the similar works of Pierre Charles Trémolières (Cholet, 1703 - Paris, 1739) allows us to connect our painting to the modus operandi of this fascinating painter.


Pierre-Charles Trémolières, Hercules and Hebe, Paris, Hôtel de Soubise (Prince's Chamber) (fig. 1)

These prestigious commissions, combined with the beauty of his paintings, earned him a well-deserved reputation, making him one of the most sought-after artists by Parisian nobles and wealthy bourgeoisie.

Therefore, to support this proposal, it will suffice to compare our beautiful Allegory not only with the work just mentioned, but also with other works attributed to the French master, works in which the refined stylistic elements typically employed by Pierre Charles Trémolières are similarly evident.

Among these, for example:

Pierre-Charles Trémolières, The Triumph of Galatea (Tajan Auction, Paris, June 12, 1995) (fig. 6)

Pierre-Charles Trémolières, Flora and Putto, private collection (fig. 7)

ADDITIONAL INFORMATION:

The work is presented in a beautiful antique turquoise lacquered wooden frame and is sold with a certificate of authenticity and an iconographic .
This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity



issues arising from misattribution See less