Pierre Charles Trémolières, Allegory of Music, 1730, Oil on Canvas

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Description

Pierre charles trémolières (cholet, 1703 - paris, 1739)

allegory of music (the muse euterpe)

oil on canvas (112 x 86 … Read more Pierre charles trémolières (cholet, 1703 - paris, 1739)

allegory of music (the muse euterpe)

oil on canvas (112 x 86 cm - in original lacquered frame 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, dedicated to apollo and populated by the muses, a source of inspiration and poetry, flowed.

our canvas depicts one of the legendary goddesses inspiring creative fervor who, over the centuries, acquired a specific influence in the fields of art and knowledge. Specifically, euterpe, the muse of music, is depicted seated on clouds among flowers and musical instruments (zither, flute, bagpipe), dressed discreetly in silk, her head crowned with blossoms, and she holds a rolled-up sheet of paper and a volume of music pages.

the scholarly subject illustrated and the painting's unusual dimensions 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 figure with a passion for music and the arts.

the stylistic characteristics of this allegory of music highlight the work of a french artist active in the 18th century, gifted with an elegantly casual creative streak and a gift for easel paintings with secular themes. The seductive depiction is indeed inspired by the finest examples of a similar subject 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.

a talented scion of a noble family from the loire region, trémolières was invited to paris by the count of caylus, a close relative, who arranged for him to be accepted into the prestigious parisian workshop of jean-baptiste van loo, enabling him to win second prize in the prestigious grand prix de rome (1726) and subsequently be accepted into the french academy in rome.

after several years in the papal capital, now famous and established, he was recalled to his homeland where, at the height of his career, he was appointed head of the decorations of the hôtel de soubise, one of the most important parisian residences (now home to the french national archives), alongside other great painters such as françois boucher and carle van loo.

in 1738, he premiered at the paris salon a beautiful painting, "hercules and hebe," which later adorned the walls of the aforementioned important noble residence, and which still hangs in the prince's bedroom today.

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, venus and cupid (louvre, paris) (fig. 2)

pierre-charles trémolières, allegory of comedy (the metropolitan museum of art, new york) (fig. 3)
pierre-charles trémolières, venus holding a bow and quiver and cupid holding an arrow
(chritie’s 31.01.2023, old master paintings and sculpture online, new york) (fig. 4)
pierre-charles trémolières, venus and cupid (artcurial, paris, france, november 8, 2011) (fig. 5)

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



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