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Flowers in a glass, resting on a bookCirca 1780
Circa 1780
$17,873.92
£13,313.49
€15,000
CA$24,613.83
A$26,791.53
CHF 14,195.87
MX$322,208.73
NOK 180,496.93
SEK 165,405.46
DKK 114,290.07
About the Item
Jean-Louis PREVOST (attributed to)
(Nointel, 1745 – Paris, 1827)
Flowers in a Glass, Resting on a Book
Gouache on paper
H. 38.5 cm; W. 30.5 cm
Unsigned
The biography of Jean-Louis Prevost has recently benefited from new and reliable insights, thanks to Gabriela Lamy's remarkable study of the Prevost siblings, conducted as part of the Palace of Versailles' research program "Plants in the Great European Gardens in the Modern Era."
The son of a winegrower from L'Isle-Adam, Jean-Louis Prevost, following in the footsteps of two of his brothers, Jean-Jacques (born in 1736) and Guillaume (1738-1788), received instruction for two years (1761 and 1762), thanks to the recommendation of Nicolas Cochin, from the flower and animal painter Jean-Jacques Bachelier (1724-1806) at the Sèvres porcelain factory.
The Prevost brothers were then hired for five years by the tax farmer Jacques-Jérémie Roussel (1712-1766), one of the founders of the Vincennes porcelain factory, a great collector and passionate about gardens and botany. Roussel commissioned them to illustrate (with more than 1,800 drawings) the collection Horti Cellensis, which depicts all the plants in Roussel's garden at his château in La Celle Saint-Cloud.
Then, while Guillaume continued to specialize in botanical illustrations (he worked at Trianon for the king and accompanied La Pérouse on his expedition aboard the Astrolabe), Jean-Jacques and Jean-Louis developed a more artistic style and became members of the Academy of Saint Luke. The two brothers possessed a very similar style (their works are sometimes confused), and quickly garnered admiration and rave reviews at the exhibitions they participated in (Academy of Saint Luke, Salon de la Jeunesse, Salon du Colisée, etc.). The art dealer Le Brun wrote in 1776: “The flowers, birds, and fruits of Messieurs Prevost attracted all eyes and were exquisitely painted. With a little more practice, they will be the Van Huysums of France.”
The compliment was flattering and accurate, but in fact, the Prevosts, and Jean-Louis in particular, represented more of a synthesis or a link between the vibrant exuberance of Van Huysum and the almost scientific precision of Redouté. They are among the first representatives of those artists who combined botanical realism with delicate compositions imbued with a poetic atmosphere.
With his near contemporary Anne Vallayer-Coster (1744-1818), he produced works from the early 1770s onward with a distinctly "Marie Antoinette" spirit, almost pastoral, perhaps even more so in his works on paper; the compositions often incorporated birds' nests or domestic objects such as baskets or sewing kits, evoking a gentler way of life. But unlike Vallayer-Coster, who also regularly distinguished herself in portraiture, genre scenes, and animal still lifes, Prevost focused on flowers and fruit.
Prevost and Vallayer-Coster were followed by Flemish and Dutch painters who came to settle in Paris around the same time. Gérard Van Spaendonck was quite close to Prevost, and he would later become painter to Marie Antoinette's court. Van Dael, Van Pol, and Van Os arrived a little later, and while their works are just as refined, with the same blend of botanical realism and poetry, the atmosphere is now somewhat less "light," and in truth, more neoclassical.
In these final years of the Ancien Régime, Jean-Louis Prevost's work was collected by prominent art lovers, such as Blondel de Gagny, the Prince of Conti, and the Marquis de Livois. He participated in the Salon from 1791 and exhibited there until 1802. In 1793, he obtained lodgings at the Gobelins Manufactory, which he retained almost until the end of his life.
Despite the quality of his works and his great success, Prevost did not hold any official position in the art world, and to this day, neither a studio nor students are known to have been employed by him.
Our gouache, which could be included in Prevost's oeuvre, is similar to two works held at the Fitzwilliam Museum in Cambridge, which employ the same technique and adopt this almost naive style. The composition, quite interesting, presents us with a beautiful binding of an Italian dictionary from the second half of the 18th century, upon which rests a simple, uncarved glass of water. The bouquet of pastel-hued flowers appears to include jasmine, among other things.
- Attributed to:Jean-Louis Prevost (1745 - 1827, French)
- Creation Year:Circa 1780
- Dimensions:Height: 15.16 in (38.5 cm)Width: 12.01 in (30.5 cm)
- Medium:Gouache,Vellum
- Movement Style:
- Period:1780-1789
- Condition:
- Gallery Location:BELEYMAS, FR
- Reference Number:1stDibs: LU1857217270582
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