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Alexandre-François Desportes (1661-1743)
Alexandre-François Desportes (1661-1743) - Paintings & Drawings Style Louis XIV Alexandre-François Desportes (1661-1743) - Alexandre-François Desportes (1661-1743) - Louis XIV
Ref : 69757
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Period :
18th century
Artist :
Alexandre-François Desportes (1661-1743)
Provenance :
Château de Châtillon
Medium :
Oil on canvas
Dimensions :
l. 125.98 inch X H. 125.98 inch
Paintings & Drawings  - Alexandre-François Desportes (1661-1743) 18th century - Alexandre-François Desportes (1661-1743)
Galerie Wanecq

French 18th Century Furniture and works of art

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Alexandre-François Desportes (1661-1743)

Oil on canvas, H. 3,20 m; L. 3,20 m
Signed and dated lower middle: Desportes 1704
Oil on canvas, H. 3,20 m; L. 3,20 m
Signed and dated lower left: Desportes 1707
Provenance: two pendants forming part of the décor of the ground floor galler y of the Folie-Desmares at Châtillon (Hauts-de-Seine), still in situ in 1787; Galerie Aaron, New York, 1989; private collection.
Literature:Thiéry,1787,t. II,p. 412;Lastic,1969,no.716;Langlois,1993, p. 481; Opperman, 1994, p. 175, repr. no. 2; Jacky, 1997, R. L., p. 61; Jacky, 1999, t. III, p. 571-572 et p. 591; Lastic, Jacky, 2010, t. I, p. 114- 118, t. II, P 426 (Chasse au sanglier) et P 462 (Hallali de cerf).
Through his master Nicasius Bernaert, a pupil of Frans Snyders, Desportes was introduced to the milieu of Flemish painters in Paris and learned about the realist art that would mark his painting throughout his brilliant career. Louis XIV appointed him “painter of his hunt” and even though Jean-Baptiste Oudry broke Desportes’s monopoly of hunting depictions around 1723-1725, commissions continued to pour in until his death in 1743.
This pair of impressive hunting scenes formed part of the decoration of the ground floor gallery of a beautiful residence at Châtillon, nicknamed the Folie-Desmares, acquired in 1708 by the Swiss banker, Antoine Hogguer, Baron de Presles, for his mistress the famous actress Charlotte Desmares (1682-1753).
The Boar Hunt was created in 1704,three years before its pendant. Desportes has repeated the boar and some dogs from a composition by Frans Snyders (private collection).A preparatory study for the injured dog in the foreground sur vives (Sèvres, man- ufacture nationale), which Desportes had also copied after a painting by Snyders (Besançon museum) and which remained in the artist’s studio until his death. Like Snyders, Desportes used a certain number of studies of dogs in various compositions.The attitudes of the white dogs with elongated proportions in the centre of the composition make us more aware of the frenzied rush in which they had indulged.The dramatic intensity of the moment is expressed in the fierce gaze of the three dogs following them on the right.
In the Deer Hunt, Despor tes has shown a deer overwhelmed by a pack of dogs at the edge of a wood. Particular care has been taken with the landscape in this work, and we are conscious of the preparatory studies from life.The dense vegetation of the forest includes a few oak branches and a flowering elderberry while next to a stream in the foreground the artist has detailed white mulleins, flowers that symbolise strength and courage.The beautiful realistic landscape which stretches as far as the horizon on the left, treated with modern sensitivity, has been compared to a landscape study made by the painter from life.
In both compositions, we are struck by the expressiveness and liveliness of the hounds, the rich and precise rendering of their hair and their eyes.

Galerie Wanecq


18th Century Oil Painting Louis XIV