by Restout on Mythological and Historical Themes: Acquisition by the
National Gallery of Canada of Venus Presenting Arms to AeneasHome
| Français | Introduction
by Pierre Rosenberg and Antoine Schnapper
| 3 | 4
1 "Jean Restout (1692-1768)," Archives de l'Art Français,
vol. XIX (1938), pp. 99-188, see nos 3 to 9 of the bibliography, pp.
2 Galerie françoise, ou Portraits des hommes et des femmes célèbres
qui ont paru en France, Gravés en Taille-douce par les meilleurs
artistes, sous la con- duite de M Restout... Avec un abrégé
de leur vie par une société de gens de lettres (Paris: 1771).
This work, sometimes compiled in two volumes, was originally
published in eight monthly instalments, ail dated 1771. Restout's
biography is at the end of the last instalment.
3 "Éloge de Mons' Restout," mentioned by Trébutien and
published by Ph. de Chennevières-Pointel. Recherches sur la vie
et les ouvrages de quelques peintres provinciaux de l'ancienne
France, vol. III (Paris: 1854), pp. 308-329, see p.314.
4 "précis de la vie de M Restout...," Mercure de
France (February 1768), p.195.
5 Article cited by Mariette, Abecedario, published by Ph. de
Chennevières and A. de Montaiglon, vol. IV (1857-1858), p. 384, and
republished by Ph. de Chennevières, Nouvelles Archives de l'Art
Français (1886), pp. 282-283.
6 "Éloge de M Restout; par M Duboullay: Précis analytique
des travaux de l'Académie royale des sciences, des belles-lettres
et des arts de Rouen, depuis sa fondation en 1744 jusqu'à l'époque
de sa restauration le 29 juin 1803, vol. III 1761-1770,
(Rouen: 1817), see p. 284.
7 procès-verbaux de l'Académie royale de peinture et de
sculpture, 1648-1793, published by A, de Montaiglon, vol. IV
(Paris: 1881), p, 251.
8 Ibid., p. 247, 29 May 1717.
9 "Exhibition catalogue Jean Restout (1692-1768), Musée
des Beaux-Arts de Rouen (June-september 1970), p. 19.
10 see the admission of Watteau, 30 July 1712, J.B. Massé, 30 June
1714, J. M. Nattier, 25 May 1715, Vleughels, 27 July 1715, Oudry , 26
June 1717, Procès -verbaux..., op. cit., on the appropriate
11 Rouen exhibition catalogue, op. cit., descriptive list,
no. 5, p. 186.
12 Exhibition catalogue From Watteau to David. A Century
of French Art, Maurice ségoura Gallery (New York: 1982),
102 x 137 cm. signed "Rêtout" in lower right-hand corner,
ill. The catalogue entry is attributed to Christophe P. Janet.
Thanks to Dr Boerlin of the Kunstmuseum Basel we now know the
provenance of this painting to have been the collection of Nikolaus
Reber-Passavant (1735-1821), an art dealer at Basel, sold at Basel
in 1810; we cite an extract from the sale catalogue: "Jean
Restout 1 et 2. Deux Tableaux, faisant Pendants. Sujets de l'Énéide.
L'un représente Vénus commandant à Vulcain des Armes pour son
Fils Énée. L'autre Junon qui demande au Dieu des Vents de faire périr
la Flotte de ce Héros. Sur toile. Hauteur 39 pouces; largeur 51
pouces [105 x 138 cm]." The second painting could be a repeat
of our no. 14, Juno and Aeolus, in the Hermitage Museum, which
is signed and dated 1727, and measures 189 x 243 cm.
13 Written notification from Myron Laskin, 11 February 1983. The
letter stated, however, that the "29" replaced a
"31" which had been crossed out (fig. 3). The Ottawa
canvas (137 x 105 cm) was sold at sotheby's in London on 7
Apri11982, lot no.114, as Mars and Venus, attributed to Jean
14 .Virgil, The Aeneid, Book VIII. Restout is not
particularly faithful to the story, especially with regard to the
first event. Except that the figures are reversed, the main group in
the Ottawa painting bears a rather striking resemblance to the group
in the painting by Poussin on the same theme, property of the Art
Gallery of Ontario, Toronto O. Thuillier catalogue, Tout l'oeuvre
peint de Poussin, Paris: 1974, no.98).
15 A. schnapper, Jean Jouvenet, 1644-1717, et la peinture
d'histoire à Paris (Paris: 1974), no.95 and fig. 98.
16 Paul Prouté S. A., Paris, Gérôme catalogue (1977), no.
17, attributed to François Lemoyne (repr.), black chalk with a
number of white highlights on grey paper; 25 x 35 cm; squared, ségoura
catalogue, op. cit. (repr.). We thank J. Thuillier for
sending us the photograph of this drawing, which attributed to
Restout since 1977 (Pierre Rosenberg and Antoine Schnapper, "Some New Restout Drawings," Master Drawings (1977),
XV, 2, p. 171).
17 procès-verbaux..., vol. IV, p. 246.
18 This painting, catalogued by Messelet (op. cit., no. 141),
belonged to Georges Vésier in 1938. According to Messelet, it was
signed and dated 1727 and measured 130 x 194 cm. The 1788 catalogue
indicates that the painting at the Calonne sale was dated 1728, and
measured "47 pouces sur 47 pouces." However, this is
probably a typographical error, and the width should have read
"74 pouces" instead of "47 pouces." The author
of the entry states, "We are familiar with the print by Mr
Cochin," whereas it was really a Le Vasseur print.
19 The next number in the Calonne sale (no.155) was The Finding
of Moses (fig. 12) (no.100 in our list), which we believed in
1970 to have disappeared. However, it was recently found in a
private collection in Chicago.
20 In addition to the article mentioned in n. 15, we would like to
point out another work on Restout drawings: "Un nouveau groupe
de dessins de Jean Restout (1692-1768) au Musée de Stuttgart,"
by Pierre Rosenberg and Heinrich Geissler, in Jahrbuch der
Staatlichen Kunstsammlungen in Baden-Württemberg, 17 /
133-154. The sixteen drawings for the Miracles du diacre Pâris, which
we were unable to locate in 1970, were acquired by the Musée
national des Granges de Port Royal at a public sale on 15 December
1980. We cannot resist reproducing a beautiful red chalk drawing -
this technique was rarely used by Restout and is new to us. The
drawing was put up for sale on 25 March 1983, Paris, no.2, with an
attribution to Antoine Coypel (ill.), and was bought by a Paris
collector (fig. 13).
21 A number of the paintings we catalogued in 1970 have since
changed hands: 21a to Vire; 21b to the Musée des Granges de Port
Royal; the sketch for no. 45, formerly at the Bishop's palace, is
now on the art market in Paris; no. 57, sold at Christie's in New
York, 12 June 1981, no. 152 (ill); no. 74 to Strasbourg; no. 90
to the Saint- Thomas d'Aquin church in Paris; nos 113 and 143, the
tapestries of Saint-Vincent de Viviers, were stolen in 1974. Others,
which we thought had disappeared, were found: no. 99, on the art
market in London in 1981; no. 100, see n. 18; nos 101 and 110, see
above; no. 111, a version on the art market in Paris; no. 114, see
above; no. 116, a copy at the Tolleville church (Somme); no. 134,
found at Bordeaux and acquired in 1976 by the Rouen museum; no. 135,
a sketch, on the art market in Paris. In addition, a number of dates
were clarified (no. 57, 1744; no. 61, 1742; no. 62, 1762), a number of
sketches were found (no. 18, at Quimper; no. 87, in a private
collection in Paris; nos 78 and 82, another version at the Coussay
les Bois church in Vienne, c.f. I. Riou, Bulletin de la
société des Antiquaires de l'Ouest (1981), pp. 163-168), and
the list of Restout copies has grown considerably longer. However,
very few new original compositions have surfaced. In addition to a
number of portraits about which we were informed, we should mention,
among others, a Christ Appearing to Saint Roch under the name
of Tiepolo at the Church of Saint Nicolas de Saumur; a Hagar and
the Angel signed and dated 1745, of which we have only a poor
photograph; a Saint John the Baptist (Paris sale, 19 June 1981, no. D, ill.); a curious Sacrifice of Isaac donated
by the Bourgueil church to the Tours museum, perhaps a workshop
piece; an Agony in the Garden in a private Paris collection,
the composition of which is entirely different from that of no. 135;
and, above all, the interesting Reading Monk signed and dated
1711, sold at Sotheby's in New York, 20 January 1982, no. 33, ill.,
and The Angel Appearing to the Prophet Elijah signed and
dated 1733 (exhibition catalogue, L'art du XVIIe siècle dans les
Carmels de France (Paris, Petit Palais: 1982-1983), no. 111,
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