GENERAL DESCRIPTION
In 1770 Jean-Baptiste Marie Pierre succeeded his famed older rival, François Boucher, as First Painter to King Louis XV. He was also named Director of the French Academy of Painting, hence occupying the pinnacle of power in the French art world during the last decades of the monarchy. Claude-Henri Watelet, one of the most discerning patrons in the 18th-century Paris, commissioned The Abduction of Europa from Pierre to hang in his grand salon as a pendant to one by Boucher on the same subject. Boucher's painting, today in the Wallace Collection, London, depicts Jupiter in the guise of a bull gently winning the confidence of Europa, who drapes his horns with a crown of flowers. Pierre focuses instead on the next moment in the narrative when Europa mounts the bull, who carries her off across the water, abducted as his bride. Pierre's painting is a typical rococo confection, emphasizing delicate colors, harmonious composition, and elegant postures. Serious drama cedes to a lighthearted atmosphere, colored by the frivolous, even amoral, excesses of the court at the end of the Ancien Régime.
The Roman poet Ovid (43 BC-BCE 17) tells how Jupiter took the guise of the bull in order to abduct Europa, the beautiful daughter of the king of Tyre. The sea deity riding on a dolphin, beneath the figures of Europa and the Bull, is an energetic study of a male torso flung backwards and opposing the force of the surrounding waves. His ribs and chest muscles arch in dramatic tension, though the rosy flesh tones of his body are as voluptuous as the female nudes nearby. His unusual surging stance suggests the wave of passion carrying Europa away.
Adapted from
- Dorothy Kosinski, DMA label copy, 1993.
- Dorothy Kosinski, DMA label copy, 2006.
NOTES
Checked Piction
Bonnie Pitman, ed., "The Abduction of Europa," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 163.
The Abduction of Europa illustrates an episode from Ovid's Metamorphoses in which the god Zeus assumes the form of a bull in order to seduce a mortal woman, Europa. Once Europa has climbed on the bull's back, Zeus carries her out to sea. Jean Baptiste Marie Pierre's painting closely follows Ovid's text: "And she held his horn with her right hand, and, steadied by the left, held on his ample back—and in the breeze her waving garments fluttered as they went." Pierre has embellished the narrative with a host of putti, sea nymphs, mermen, and a dolphihn, all accompanying the fleeing Zeus and his captive, Europa's abduction was a favorite subject for European painters in the mid-eighteenth century. The marine setting allowed artists to employ decorative motifs drawn from nature, such as shells and waves, which were characteristic of the rococo style, or goût pittoresque, popular at that time.
In the 1740s- Pierre was criticized for painting bambochades, but he submitted 4 history paintings (including this one) to the 1750 Salon. Pierre would have been familiar with Ovid's tale of Europa through the popular translation by the abbé Banier (1737 and later edition) Does not emphasize Europa's fright or regret, but instead focuses on the decorative and pleasant. Like Boucher- shows Jupiter as an eagle, which is not part of Ovid's story Like Boucher- three amoretti- cupids who take care of Europa and carry flowers, love's bow and arrow.
Provenance
Notes
The primary source for this provenance is the research document compiled by Emily Vokt (March 2001) and Alexandra Wellington (September 2010).
1750-d.1786: Claude-Henri Wattlet (1718-1786), Paris [1]
From 1786: Saubert (dealer), purchased from the estate of the above, Paris, 12 June 1786, lot 14 [2]
n.d.: Prive Collection, England
Until 1946: David Koetser [3]
Until 1989: Georges Wildenstein, New York [4]
[1] Watelet was a friend and avid collector of the artist. He died in 1786 and his estate was sold.
[2] Catalogue de tableaux, dessins montés es en feuilles... le tout provenant du cabinet de feu M. Watelet, Paris 12 June 1786, no. 14, sold with Boucher's Rape of Europa and Mercury Confiding the Infant Bacchus as one lot to the dealer Saubert for 3,423 livres- sale recorded in the annotated sales catlogue in the Institut et d'Archéologie, Paris.
[3] See The Loves of the Gods exhibition cataloge p.438. Although Koetser had galleries in London, New York, and Zurich, it is most probable that the work was in his London gallery given his proximity to the private collector in London. If this is the case, the painting is free from possible Nazi associations. The catalogue entry further indicates that the painting entered a private collection in New York after Wildenstein’s; however, the DMA purchased the painting from Wildenstein in 1989. Therefore, it is unlikely that the picture was ever in a private collection in New York other than Wildenstein’s.
[4] According to a letter from Richard Brettell to Theodore Hochstim dated August 17, 1990, the painting was in Wildenstein’s collection for most of this century. Furthermore, given the notation in “The Loves of the Gods,” it is likely that Wildenstein purchased the painting directly from Koetser in 1946. The exhibition catalogue The First Painters of the King (1985) lists this work as being in a Private Collection, New York. This credit line conflicts with the above correspondence in which the painting was in Wildenstein's collection for "most of this century."
[2] The Foundation for the Arts is a non-profit corporation created as a title-holding entity to serve the people of Dallas but to operate independently of the City. The Dallas Museum of Art (at its own cost) is responsible for the care, storage, insurance, conservation and maintenance of the collection, and agrees to maintain the highest museum standards in the management and handling of the Foundation’s collection. The title to all works of art purchased or otherwise acquired by the Foundation for the Arts is retained by the Foundation.
Update exhibition record with foreign language title:
“La Volupté du gout: La peinture française au temps de Madame de Pompadour” (2008)
Add remark to the above exhibition with catalogue information--pp. 168-169, cat. 37 (The Abduction of Europa) (color illus.)
Exhibition title used in First Painters of the King (1985) and The Loves of the Gods (1991)-- both use title, The Rape of Europa
Add Salon 1750 to the exhibition history text entry field.
1750: Salon, Paris, no. 56 [1]
[1] Collection de pièces sur les beaux-arts (1673-1801), dite Collection Deloynes, Vol. 4, pièce 49, “Exposition de peintures, sculptures, et autres ouvrages…. à commencer le jour de St. Louis 25 d’aoust 1751 pour durer un mois. Paris, imp. V e J. F Collombat, 1751,” Deloynes 514-515 (livret); Collection de pièces sur les beaux-arts (1673-1801), dite Collection Deloynes, Vol. 4, pièce 51, “Jugemens sur les principaux ouvrages exposés au Louvre le 25 aout 1751,” Deloynes 278, 551-553; ollection des livrets des anciennes expositions depuis 1673 jusqu'en 1800: Exposition de 1750 (Paris, 1869), 19.
Add the following texts to TMS.
When Jean-Baptiste-Marie Pierre (1714-1789) was appointed in 1770 to succeed François Boucher as First Painter to King Louis XV he became the most powerful artist in France. This lifetime post, the highest honor that could be bestowed, was the final one in an outstanding official career. A pupil of Natoire, he won the Grand Prix in 1734 at the age of twenty, and spent the next six years in Rome. He was received into the Academy in 1742, named Professor in 1744, Assistant Rector in 1768, and Director in 1770. With the dual positions of Director and First Painter, Pierre put his energies into administration.
The monumental Rape of Europa is Pierre's most ambitious mythological work. It was painted at the peak of his career for Claude-Henri Watelet (1718-1786), one of the most discerning collectors of his time, as part of a decorative cycle that included Boucher's Rape of Europa, now in the Wallace Collection. The story of Jupiter's abduction of Europa, beautiful daughter of the King of Tyre, comes from Ovid's Metamorphoses (11.835-75).
Boucher's picture depicts the first episode, when nymphs encourage Europa to mount the amiable bull, who is Jupiter in disguise; Pierre depicts the next moment, when the voyage is underway and Europa has second thoughts. Although Pierre's painting follows the text in several details, such as the bull's small, polished horns covered with garlands, his muscular neck, and docile expression, the artist softened the impression of Europa's fear as Ovid tells it, giving her instead a longing look heavenward. One of Pierre's inspriations for his Rape of Europa was Veronese's painting of the theme, which he saw in the Doge's Palace in Venice, and knew also from a copy in the Duc d'Orleans's collection. The painting was shown in the Salon of 1750, where Pierre was praised for his vigorous coloring and his masterful draughtsmanship. An engraving of the painting, made in 1762 by Louis-Simon Lempreur, was exhibited at the Salon of 1763.
Scenes from religious and mythological history, which occupied the first place in the hierarchy of subject matters dictated by the Academy in France, must be a central part of any collection that aspires to represent the highest achievements of the "eighteenth century. Pierre's Rape of Europa is a work of beauty, of grand scale, excellent quality, and outstanding provenance.
Susan Barnes, Acquisition proposal (1989.133.FA), n.d.
In 1770 Pierre succeeded his famed older rival, Francois Boucher, as First Painter to King Louis XV. He was also named director of the French academy and hence occupied the pinnacle of the French art world during the last decades of the monarchy. Commissioned by a prestigious collector, The Abduction of Europa was intended as a pendant to a painting by Boucher (Wallace Collection, London). Boucher's painting depicts Jupiter in the guise of a bull gently winning Europa's confidence; she drapes his horns with a crown of flowers. Pierre focuses on the next moment in the narrative when Europa mounts the bull, who carries her off across the water.
Europa's distress, as recounted, for instance, by the Roman poet Ovid, is not evident in this interpretation of the story. The darker side of the narrative is dominated by the rococo penchant for a decorative orchestration of delicate colors, harmonious composition, and elegant postures. Serious drama cedes to a lighthearted atmosphere, colored surely by the frivolous, even amoral recklessness of the court at the end of the ancien regime. The only indication of the enormous passion of the moment is perhaps found in the energetic torsion of the male figure riding on the dolphin amid the waves.
Dorothy Kosinski, "The Abduction of Europa", in Dallas Museum of Art: A Guide to the Collection, ed. Suzanne Kotz (Dallas, TX: Dallas Museum of Art, 1997), 87.
Pierre constituent record:
b. Paris 1713
d. Paris 1789
trained- Paris (until 1734) under Charles-Joseph Natoire; won Grand Prix in 1734 with "Delilah Cutting Samson's Hair" (location unknown)
trained- Rome- (1735-1740) under the directorship of Jean-François de Troy
worked- Venice (1740)- In Venice on this way back to Paris from Rome; would have seen Veronese's "Rape of Europa" (on display in the Doge palace since 1733)
worked- Paris- (by 1742)- Accepted into the Academy in March 1742 for "Diomedes Slain by Hercules" (Musée Fabre); became professor at the Academy in 1748; exhibited in the Salon annually until 1751 and again in 1761 and 1769; after death of Charles-Antoine Coypel, Pierre became premier peintre to the duc d'Orléans and curator of his collection; became First Painter to King Louis XV (June 1770) and Director of the Academy in July 1770, in January 1778 he was appointed director imperpetuity, a position created especially for him.
1989.133.FA
I now turn to a great painting in the DMA collection by Jean-Baptiste Marie Pierre, The Abduction of Europa (fig. 7). It was acquired for Dallas by Richard Brettell, the former Eugene McDermott Director. Pierre, one of the major figures in the eighteenth century who are not well-known outside academic circles, tried to continue the reforms of Van Loo to some degree. Pierre had been asked to make a pendant to a painting by Boucher, now in the Wallace Collection, London. The subject is the abduction of Europa: a naughty old god, Jupiter, has disguised himself as a very handsome bull and lures away the young Europa. In this painting, she’s putting some garlands of flowers around his head. He lures her off, abuses her, and takes her off to sea on his back. Another emblem of Jupiter, the angry eagle, is shown watching this abduction taking place. The depiction is very much in the grand, ornamental, decorative rococo style, one step beyond what Lemoyne was doing. (19)
Philip Conisbee, "Michael L. Rosenberg's Eighteenth Century," 11-23, in French Art of the Eigteenth Century: The Michael L. Rosenberg Lecture Series at the Dallas Museum of Art, Heather MacDonald ed. Dallas Museum of Art and the Michael L. Rosenberg Foundation, distributed by Yale University press, New Haven, CT, 2016.
Catalogue essays
Abduction of Europa (Rape of Europa)- consider making this a CC for Europa and then could be linked as the depicted individual.
Artist/designers
Pierre, Jean Baptiste Marie (French, 1713-1789): ULAN: 500001529
Cultures
Geography
Process/materials
Historical periods
1750
Ancien Regime
Individuals
King Louis XV
Francois Boucher
Subject terms
RELATED OBJECTS
Francois Boucher, Europa pendant, 1734-
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
IMAGE ASSETS
WEB RESOURCES
ARCHIVAL RESOURCES
FUN FACTS
- Director of the Academy in July 1770, in January 1778 Pierre was appointed director in perpetuity, a position created especially for him.
Apply to objects where number equals 1989.133.FA
Category
rules_operator
AND
General Description
In 1770 Jean-Baptiste Marie Pierre succeeded his famed older rival, François Boucher, as First Painter to King Louis XV. He was also named Director of the French Academy of Painting, hence occupying the pinnacle of power in the French art world during the last decades of the monarchy. Claude-Henri Watelet, one of the most discerning patrons in the 18th-century Paris, commissioned The Abduction of Europa from Pierre to hang in his grand salon as a pendant to one by Boucher on the same subject. Boucher's painting, today in the Wallace Collection, London, depicts Jupiter in the guise of a bull gently winning the confidence of Europa, who drapes his horns with a crown of flowers. Pierre focuses instead on the next moment in the narrative when Europa mounts the bull, who carries her off across the water, abducted as his bride. Pierre's painting is a typical rococo confection, emphasizing delicate colors, harmonious composition, and elegant postures. Serious drama cedes to a lighthearted atmosphere, colored by the frivolous, even amoral, excesses of the court at the end of the Ancien Régime.
The Roman poet Ovid (43 BC-BCE 17) tells how Jupiter took the guise of the bull in order to abduct Europa, the beautiful daughter of the king of Tyre. The sea deity riding on a dolphin, beneath the figures of Europa and the Bull, is an energetic study of a male torso flung backwards and opposing the force of the surrounding waves. His ribs and chest muscles arch in dramatic tension, though the rosy flesh tones of his body are as voluptuous as the female nudes nearby. His unusual surging stance suggests the wave of passion carrying Europa away.
Adapted from
- Dorothy Kosinski, DMA label copy, 1993.
- Dorothy Kosinski, DMA label copy, 2006.
Fun Facts
- Director of the Academy in July 1770, in January 1778 Pierre was appointed director in perpetuity, a position created especially for him.
Archival Resources
Web Resources
Notes
Checked Piction
Bonnie Pitman, ed., "The Abduction of Europa," in Dallas Museum of Art: A Guide to the Collection (New Haven, CT: Yale University Press, 2012), 163.
The Abduction of Europa illustrates an episode from Ovid's Metamorphoses in which the god Zeus assumes the form of a bull in order to seduce a mortal woman, Europa. Once Europa has climbed on the bull's back, Zeus carries her out to sea. Jean Baptiste Marie Pierre's painting closely follows Ovid's text: "And she held his horn with her right hand, and, steadied by the left, held on his ample back—and in the breeze her waving garments fluttered as they went." Pierre has embellished the narrative with a host of putti, sea nymphs, mermen, and a dolphihn, all accompanying the fleeing Zeus and his captive, Europa's abduction was a favorite subject for European painters in the mid-eighteenth century. The marine setting allowed artists to employ decorative motifs drawn from nature, such as shells and waves, which were characteristic of the rococo style, or goût pittoresque, popular at that time.
In the 1740s- Pierre was criticized for painting bambochades, but he submitted 4 history paintings (including this one) to the 1750 Salon. Pierre would have been familiar with Ovid's tale of Europa through the popular translation by the abbé Banier (1737 and later edition) Does not emphasize Europa's fright or regret, but instead focuses on the decorative and pleasant. Like Boucher- shows Jupiter as an eagle, which is not part of Ovid's story Like Boucher- three amoretti- cupids who take care of Europa and carry flowers, love's bow and arrow.
Provenance
Notes
The primary source for this provenance is the research document compiled by Emily Vokt (March 2001) and Alexandra Wellington (September 2010).
1750-d.1786: Claude-Henri Wattlet (1718-1786), Paris [1]
From 1786: Saubert (dealer), purchased from the estate of the above, Paris, 12 June 1786, lot 14 [2]
n.d.: Prive Collection, England
Until 1946: David Koetser [3]
Until 1989: Georges Wildenstein, New York [4]
[1] Watelet was a friend and avid collector of the artist. He died in 1786 and his estate was sold.
[2] Catalogue de tableaux, dessins montés es en feuilles... le tout provenant du cabinet de feu M. Watelet, Paris 12 June 1786, no. 14, sold with Boucher's Rape of Europa and Mercury Confiding the Infant Bacchus as one lot to the dealer Saubert for 3,423 livres- sale recorded in the annotated sales catlogue in the Institut et d'Archéologie, Paris.
[3] See The Loves of the Gods exhibition cataloge p.438. Although Koetser had galleries in London, New York, and Zurich, it is most probable that the work was in his London gallery given his proximity to the private collector in London. If this is the case, the painting is free from possible Nazi associations. The catalogue entry further indicates that the painting entered a private collection in New York after Wildenstein’s; however, the DMA purchased the painting from Wildenstein in 1989. Therefore, it is unlikely that the picture was ever in a private collection in New York other than Wildenstein’s.
[4] According to a letter from Richard Brettell to Theodore Hochstim dated August 17, 1990, the painting was in Wildenstein’s collection for most of this century. Furthermore, given the notation in “The Loves of the Gods,” it is likely that Wildenstein purchased the painting directly from Koetser in 1946. The exhibition catalogue The First Painters of the King (1985) lists this work as being in a Private Collection, New York. This credit line conflicts with the above correspondence in which the painting was in Wildenstein's collection for "most of this century."
[2] The Foundation for the Arts is a non-profit corporation created as a title-holding entity to serve the people of Dallas but to operate independently of the City. The Dallas Museum of Art (at its own cost) is responsible for the care, storage, insurance, conservation and maintenance of the collection, and agrees to maintain the highest museum standards in the management and handling of the Foundation’s collection. The title to all works of art purchased or otherwise acquired by the Foundation for the Arts is retained by the Foundation.
Update exhibition record with foreign language title:
“La Volupté du gout: La peinture française au temps de Madame de Pompadour” (2008)
Add remark to the above exhibition with catalogue information--pp. 168-169, cat. 37 (The Abduction of Europa) (color illus.)
Exhibition title used in First Painters of the King (1985) and The Loves of the Gods (1991)-- both use title, The Rape of Europa
Add Salon 1750 to the exhibition history text entry field.
1750: Salon, Paris, no. 56 [1]
[1] Collection de pièces sur les beaux-arts (1673-1801), dite Collection Deloynes, Vol. 4, pièce 49, “Exposition de peintures, sculptures, et autres ouvrages…. à commencer le jour de St. Louis 25 d’aoust 1751 pour durer un mois. Paris, imp. V e J. F Collombat, 1751,” Deloynes 514-515 (livret); Collection de pièces sur les beaux-arts (1673-1801), dite Collection Deloynes, Vol. 4, pièce 51, “Jugemens sur les principaux ouvrages exposés au Louvre le 25 aout 1751,” Deloynes 278, 551-553; ollection des livrets des anciennes expositions depuis 1673 jusqu'en 1800: Exposition de 1750 (Paris, 1869), 19.
Add the following texts to TMS.
When Jean-Baptiste-Marie Pierre (1714-1789) was appointed in 1770 to succeed François Boucher as First Painter to King Louis XV he became the most powerful artist in France. This lifetime post, the highest honor that could be bestowed, was the final one in an outstanding official career. A pupil of Natoire, he won the Grand Prix in 1734 at the age of twenty, and spent the next six years in Rome. He was received into the Academy in 1742, named Professor in 1744, Assistant Rector in 1768, and Director in 1770. With the dual positions of Director and First Painter, Pierre put his energies into administration.
The monumental Rape of Europa is Pierre's most ambitious mythological work. It was painted at the peak of his career for Claude-Henri Watelet (1718-1786), one of the most discerning collectors of his time, as part of a decorative cycle that included Boucher's Rape of Europa, now in the Wallace Collection. The story of Jupiter's abduction of Europa, beautiful daughter of the King of Tyre, comes from Ovid's Metamorphoses (11.835-75).
Boucher's picture depicts the first episode, when nymphs encourage Europa to mount the amiable bull, who is Jupiter in disguise; Pierre depicts the next moment, when the voyage is underway and Europa has second thoughts. Although Pierre's painting follows the text in several details, such as the bull's small, polished horns covered with garlands, his muscular neck, and docile expression, the artist softened the impression of Europa's fear as Ovid tells it, giving her instead a longing look heavenward. One of Pierre's inspriations for his Rape of Europa was Veronese's painting of the theme, which he saw in the Doge's Palace in Venice, and knew also from a copy in the Duc d'Orleans's collection. The painting was shown in the Salon of 1750, where Pierre was praised for his vigorous coloring and his masterful draughtsmanship. An engraving of the painting, made in 1762 by Louis-Simon Lempreur, was exhibited at the Salon of 1763.
Scenes from religious and mythological history, which occupied the first place in the hierarchy of subject matters dictated by the Academy in France, must be a central part of any collection that aspires to represent the highest achievements of the "eighteenth century. Pierre's Rape of Europa is a work of beauty, of grand scale, excellent quality, and outstanding provenance.
Susan Barnes, Acquisition proposal (1989.133.FA), n.d.
In 1770 Pierre succeeded his famed older rival, Francois Boucher, as First Painter to King Louis XV. He was also named director of the French academy and hence occupied the pinnacle of the French art world during the last decades of the monarchy. Commissioned by a prestigious collector, The Abduction of Europa was intended as a pendant to a painting by Boucher (Wallace Collection, London). Boucher's painting depicts Jupiter in the guise of a bull gently winning Europa's confidence; she drapes his horns with a crown of flowers. Pierre focuses on the next moment in the narrative when Europa mounts the bull, who carries her off across the water.
Europa's distress, as recounted, for instance, by the Roman poet Ovid, is not evident in this interpretation of the story. The darker side of the narrative is dominated by the rococo penchant for a decorative orchestration of delicate colors, harmonious composition, and elegant postures. Serious drama cedes to a lighthearted atmosphere, colored surely by the frivolous, even amoral recklessness of the court at the end of the ancien regime. The only indication of the enormous passion of the moment is perhaps found in the energetic torsion of the male figure riding on the dolphin amid the waves.
Dorothy Kosinski, "The Abduction of Europa", in Dallas Museum of Art: A Guide to the Collection, ed. Suzanne Kotz (Dallas, TX: Dallas Museum of Art, 1997), 87.
Pierre constituent record:
b. Paris 1713
d. Paris 1789
trained- Paris (until 1734) under Charles-Joseph Natoire; won Grand Prix in 1734 with "Delilah Cutting Samson's Hair" (location unknown)
trained- Rome- (1735-1740) under the directorship of Jean-François de Troy
worked- Venice (1740)- In Venice on this way back to Paris from Rome; would have seen Veronese's "Rape of Europa" (on display in the Doge palace since 1733)
worked- Paris- (by 1742)- Accepted into the Academy in March 1742 for "Diomedes Slain by Hercules" (Musée Fabre); became professor at the Academy in 1748; exhibited in the Salon annually until 1751 and again in 1761 and 1769; after death of Charles-Antoine Coypel, Pierre became premier peintre to the duc d'Orléans and curator of his collection; became First Painter to King Louis XV (June 1770) and Director of the Academy in July 1770, in January 1778 he was appointed director imperpetuity, a position created especially for him.
1989.133.FA
I now turn to a great painting in the DMA collection by Jean-Baptiste Marie Pierre, The Abduction of Europa (fig. 7). It was acquired for Dallas by Richard Brettell, the former Eugene McDermott Director. Pierre, one of the major figures in the eighteenth century who are not well-known outside academic circles, tried to continue the reforms of Van Loo to some degree. Pierre had been asked to make a pendant to a painting by Boucher, now in the Wallace Collection, London. The subject is the abduction of Europa: a naughty old god, Jupiter, has disguised himself as a very handsome bull and lures away the young Europa. In this painting, she’s putting some garlands of flowers around his head. He lures her off, abuses her, and takes her off to sea on his back. Another emblem of Jupiter, the angry eagle, is shown watching this abduction taking place. The depiction is very much in the grand, ornamental, decorative rococo style, one step beyond what Lemoyne was doing. (19)
Philip Conisbee, "Michael L. Rosenberg's Eighteenth Century," 11-23, in French Art of the Eigteenth Century: The Michael L. Rosenberg Lecture Series at the Dallas Museum of Art, Heather MacDonald ed. Dallas Museum of Art and the Michael L. Rosenberg Foundation, distributed by Yale University press, New Haven, CT, 2016.
Catalogue essays
Abduction of Europa (Rape of Europa)- consider making this a CC for Europa and then could be linked as the depicted individual.
Artist/designers
Pierre, Jean Baptiste Marie (French, 1713-1789): ULAN: 500001529
Cultures
Geography
Process/materials
Historical periods
1750
Ancien Regime
Individuals
King Louis XV
Francois Boucher
Subject terms
RELATED OBJECTS
Francois Boucher, Europa pendant, 1734-
PROVENANCE
AUDIO ASSETS
VIDEO ASSETS
rules
Apply To
Objects
number
Equals
1989.133.FA
source file
object_notes_1_a-0284.xml.nores