National Gallery of Canada / Musée des beaux-arts du Canada

Annual Bulletin 7, 1983-1984

Annual Index
Author & Subject

The Shepherd Paris of Jean-Germain Drouais

by John D. Bandiera

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33 Drouais was insistent that the three Horatii be nude (ref. Jacques Hérissey, op. cit., p. 63), but David adamantly opposed the idea. The nude figure of the Dying Athlete may represent Drouais fulfilling his desire to paint an heroically nude Roman warrior.

34 Ganymede is seen in a painting of 1784 by Bénigne Gagneraux, L'Entrevue de Gustave III avec le Pape Pie VI dans le Musée Pio Clementino (Stockholm, Nationalmuseum). For an illustration, see Musée des beaux-arts de Dijon, Bénigne Gagneraux, catalogue (Rome: De Luca Editore, 1983), p. 99. In this picture it is prominently displayed near the Apollo Belvedere and the museum rotunda.

35 See above, note 13.

36 Pierre Gautherot (1769-1825) became a student of Jacques-Louis David in 1787. Little is known about him other than what is found in Thieme-Becker (p. 283) and other encyclopaedic sources. He is important for this discussion because of his ties to Drouais. He did the drawing for the Monsaldy print after Drouais' Dying Athlete (see this paper fig. 3), and also exhibited his own version (now lost) of Marius at Minturnaeat the Salon of 1796 (no.188). From the description in the Salon catalogue, we can infer that he was directly influenced by Drouais' Marius at Minturnae. It is possible that he was inspired to do his own Shepherd Paris because Drouais had also painted one. This is speculative, but it adds some weight to the argument in support of the attribution of The Shepherd Paris to Drouais.

37 This is most obvious in the Phüoctetes, where Orouais transplanted a 'Homeric' head onto a body that was probably modelled on an antique figure of a River God or a relief depiction of Jupiter (cf. Reinach, op. cit., p, 88). The landscape background is above all reminiscent of the seascapes of Joseph Vernet.

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