French School Attributed to Pierre Paul Prudhon (1758-1823) -Pison's Death in 65 AD
Our painting relates the tragic end of Consul Pison.
Convicted of wanting to assassinate Emperor Nero, he was forced to commit suicide. He would have chosen the poison from which this representation. Others suffered the same fate including the philosopher Sénéque who chooses to open the veins.
Canvas 27 cm by 22 cm
Beautiful frame of 45 cm by 39.5 cm
Signed Prudhon on the chassis
Pierre Paul Prudhon (1758-1823)
Born April 4, 1758, died in Paris on February 16, 1823. He was the thirteenth child of Christophe Prudon, stonemason who died shortly after his birth and Françoise Piremol.
At the age of twenty, he added Paul's name, and changed the spelling of his name, which he wrote Prud'hom, as his contemporaries of the rest pronounced it. The Benedictines of Cluny were interested in him and later his ardent taste for painting attracted the protection of the Bishop of Macon, Moreau, who recommended him to Devosge, then director of the School of Fine Arts in Dijon. Prud'hon became Devosge's pupil at sixteen; at nineteen, he married on February 17, 1778 Jeanne Pennet, daughter of a notary. This marriage was the torment of his life.
He continued his studies, then in 1780 he came to Paris where he was addressed to the engraver Wille by his compatriot, Joursanvault, who is also his benefactor, and for which he illustrates a method of bassoon. In Paris, he becomes acquainted with a family in the rue du Bac, the Fauconnier, whose daughter, Marie, falls in love with him.
In 1783, returned to Dijon, he competes for the triennial price of the School, but, by charity, finishes the picture of one of its competitors who has the price. He refuses this reward, and Prud'hon leaves for Rome where he arrives on January 3, 1783 with his comrade Petitot. Nevertheless, in spite of his friends, in spite of Cardinal de Bernis, in spite of Canova, who will try to keep him in Rome, he lives there in solitude and melancholy, sometimes also in embarrassment.
A fervent admirer of Leonardo da Vinci and Correggio, he is also fond of looking at the ancients, often stopping in front of this Capitoline fauna. He copies for the city of Dijon the ceiling of Pierre de Cortone representing the Triumph of Glory (Dijon Museum). Returning to Paris in 1789, he lives rue Cadet, far from any comradeship, drawing to live headings, vignettes, and managing to paint some portraits in oil or pastel. In the Salon of 1791, he exhibited Love seduced, the innocence that Pleasure entails and that Repentance follows, and, to that of 1793, the Union of Love and Friendship. Curious about the Revolution, led by her, he attended clubs and listened to Robespierre. It was at this moment that he made for the count of Herlai the three beautiful drawings: Love reduced to reason, the Cruel laugh of the tears he made pour and the Vengeance of Ceres