September 25, 2023


How Art Works

94/ The Italian Renaissance Nude amended (VI): extra in regards to the afterlife of ‘Loves of the Gods’

5 min read

It’s stunning that the very complete artwork historic reference ebook in three volumes Les Amours des Dieux by Dunand et Lemarchand (1977-1990) (1) doesn’t seek advice from the designs generally known as  Recueil des Amours des Dieux’ by Anne-Louis GIRODET, revealed in 1825-26 by his apprentices. We discover on this publish what is thought about this sequence and evaluate its sixteen footage with these of the 4 different sequence ‘Loves of the Gods’ introduced earlier partially (III) and (V) of those posts (2a and 2b).  

What is thought about GIRODET’s sequence?

Anne-Louis GIRODET DE ROUSSY-TRIOSON (1767-1824) (3), a pupil of Jacques-Louis DAVID (1748-1825) (4), was already within the Salon of 1793 a number one neo-classicist painter specialising in mythological-erotic and romantic topics, e.g. his work ‘Mademoiselle Lange as Venus’, ‘Pygmalion et Galatée’ and a number of other drawings ‘Vénus sortant de l’onde’ or ‘La naissance de Vénus’. He additionally made many illustrations for Greek-Roman literary works. The Musée Girodet in his birth-place Montargis owns since 2004 the doc entitled Les Amours des Dieux – Recueil de compositions dessinées par GIRODET’, considered one of a number of full sequence of 16 lithographs identified on the WEB (5). Some  museums personal solely elements of the sequence (6). 

Fig. 1 Title web page of GIRODET’s sequence

 The sixteen lithographs of dimension 19,7×15,1 cm, are numbered above and bear under the title of the mythological encounter between gods, deities or heroes, impressed from a number of literary sources (the Metamorphoses of Ovid, the Odyssey of Homer or the Aeneid of Virgil). They’re signed on the backside left ‘GIRODET-TRIOSON del’ and on the proper by the title of the lithographer with date as proven in Fig.2 under. The 9 totally different names are all recognised pupils of GIRODET: AUBRY LE COMTE (2 occasions), CHATILLON (5), COUNIS (2), COUPIN DE LA COUPERIE (1), DASSY (1), DEJUINNE (1), DELORME (1), LANCRENON (2) ET MONANTEUIL (1). 

Fig. 2 Numbered lithographs by 9 apprentices of GIRODET (5) 

A numerical comparability

 The third publish of this sequence mentioned three units of illustrations of ‘Loves of the Gods’, respectively by CARAGLIO (1527) generally known as ‘Amori degli Dei’, by BONASONE (1545) generally known as ‘Amorosi diletti degli Dei’  and by REVEIL (1833) generally known as ‘Les Amours des Dieux d’après TITIEN, Annibal CARRACHE, et Jules ROMAIN’ (2a). A fourth set of illustrations by COINY (1798) is called ’L’Arétin de Carrache’, impressed by ‘I Modi’ or ‘Positions’, mentioned  within the fifth publish of this sequence (2b). However not like the unique illustrations of Aretino’s poem, these of COINY obtained a title from mythology, analysed intimately by Jan Blanc in his publication ‘Les Amours des Dieux’ (7).

The desk under compares the 5 units of 90 illustrations and their whole variety of titles and variety of distinctive titles. The bulk – 42 – of the 61 totally different titles determine just one time (yellow colour). Some titles are widespread: 5 occasions Apollo-Daphne; 4 occasions Jupiter-Io/ Jupiter-Juno/ Mars-Venus; 3 occasions Hercules-Dejanire/ Jupiter-Semele/ Pluto-Proserpine;  and a pair of occasions Aeneas-Dido/ Adonis dying/ Bacchus-Ariadne/ Cupid-Psyche/ Jupiter-Callisto/ Jupiter-Danae/ Jupiter-Leda/ Mars-Venus found/ Satyr-Syrinx/ Vulcan-Ceres.

Desk 1: Comparability of numbered titles of the illustrations in 5 sequence

The desk exhibits that COINY’s titles had been distinctive as much as 70 %, these of BONASONE as much as 56%, these of CARAGLIO as much as 50%, these of GIRODET as much as 44%, whereas REVEIL borrowed from all people as much as 89% whereas including one non-mythological title: nr 6 TIZIANO’s ‘Venus (of Urbino)’.

See the opposite posts of the sequence “The Italian Renaissance Nude amended”
(I): what number of feminine nudes had been painted?

(II): mapping the story of ‘I Modi’ (‘The Positions’)

(III): the afterlife of ‘Love of the Gods’

(IV): the afterlife of ‘I Modi’ (The Positions) 

(V): afterlife of Aretino’s ‘Sonetti lussuriosi’ illustrated by French artists

(VII): twentieth century illustrated editions of Aretino’s‘Sonetti lussuriosi’ 




Dunand, Louis et Lemarchand, Philippe: ‘Les Amours des Dieux – L’artwork érotique sous la Renaissance’ . Institut d’Iconographie Arietis/Michel Slatkin, Lausanne/Genève.

*Quantity I  Les compositions de Jules Romain, gravées par Marc-Antoine Raimondi. 1977, pp i-x, 11-384, figs 1-778 .

*Quantity II Les compositions de Titien, gravées par Gian-Jacopo Caraglio, selon les dessins préparatoires de Rosso Fiorentino et Perino del Vaga. 1989, pp. 385-736, figs 779-1203.

*Quantity III  Les compositions de Augustin Carracci, gravées par Pierre de Jode l’Ancien : Le Lascivie. 1990, pp.736-1088, figs 1204-1658.

(2) a. Publish of March 13, 2019 “The Italian Renaissance Nude amended (III): the afterlife of ‘Love of the Gods’ “

(2) b. Publish of  August 28, 2019 “The Italian Renaissance Nude amended (V): afterlife of Aretino’s ‘Sonetti lussuriosi’ illustrated by French artists”

(3) Wikiwand : Anne-LouisGIRODET DE ROUSSY-TRIOSON (Montargis-Loiret, 1767 – Paris, 1824)

See additionally  ‘Endymion’ – Effet de lune  in  Paris, Musée du Louvre, INV4935





(4) See publish of June 12, 2011  Discussion of RIHA’s online paper 0023 | 01 June 2011 : David’s “Mars Disarmed by Venus and the Graces”

(5) The Musée Girodet, inventory nr 005.2.1, obtained this ‘Recueil des Amours des Dieux’, revealed by Engelmann, Paris 1826,  as a present from the Librairie Walden, Caen, in 2004:  ‘16 lithographs impressed by Ovid’s Metamorphoses and accompanied with an introduction of 16 pages by  Coupin de la Couperie’. 

4 extra full sequence, equivalent to the one described by the Musée Girodet, have been discovered on the WEB:

*Cambridge (Mass), Harvard University, HoughtonLibrary, nr 54C-508 (former proprietor: Larrey, Charlotte Élisabeth, 1770-1826) (no pictures obtainable, illustration n°3 ‘Pan poursuivant Syrinx’ on Wikimedia) 

*·      *Canberra, National Gallery of Australia, Accession nrNGA 72.509.1046 (no pictures obtainable)

·       *Minneapolis, Institute of Art, nrB.82.17 (provenance: Charles Edouard Mewes, Architecte; Bruce B. Dayton, Wayzata, Minn., given to MIA, 1982) (no pictures obtainable)

Pa   *Paris, Librairie Hogier (no pictures obtainable)

(6) The next museums seek advice from some lithographs from the sequence of their assortment:

* Boston,Museum of Fine Arts, nr 39.613.13: 13 prints (provenance: Jean Goriany, NY, NY from whom bought 10/11/1939) (no pictures obtainable)  

* London, British Museum, nr 1896,0618.3: n° 1 ‘Thétis et Pelée’ by François Louis Dejuinne (no picture obtainable) and nr 1896,0618.18: n°16 ‘Mars et Vénus’ by Chatillon, Henri-Guillaume (with picture) 

* Paris, Musée Carnavalet : 4 prints (N°4/Mort d’Adonis; N°6/Diane et Endymion; N°11/Céphale et l’Aurore;N°16/Mars et Vénus)


‘Les amours des Dieux – L’Arétin d’Augustin Carrache, ou Recueil de postures érotiques (1798) de Simon-célestin Croze-Magnan et Jacques-Joseph Coiny – Introduction de Jan Blanc’  Paris, PUF & Genève, Fondation Martin Budmer 2014.







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