Lancelot Théodore, Count of TURPIN de CRISSÉ (Paris,... Lot 89

Lancelot Théodore, Count of TURPIN de CRISSÉ (Paris, 1782 - 1859) View taken in Rome under the Arch of Janus, 1818 Canvas Monogrammed "TT" and dated "1818" on the right 96 x 73,5 cm Provenance: A property in the Jura, in the family since the early 20th century. Exhibition: Probably Salon of 1819, Paris, N°1094, ("View taken in Rome under the Arch of Janus - On the left we see the small arch of Septimius-Severus, the church of St. George, and in the background the ruins of the Emperors Palace.") Bibliography: - T.-B. Emeric-David, "Salon. Cinquième article ", in Le Moniteur universel, n° 306 et 307, 2 and 3 November 1819, p. 1408 (" The coloring of M. de Turpin is always true, fine and brilliant. His paintings are well composed, luminous, full of harmony. His view taken in Rome, under the arch of Janus, presents a laughing background and a good effect of light"). - E. Deschamps, A.-N. Beraud, H. de la Touche and L.-F. L'Héritier, Lettres à David sur le Salon de 1819, Paris, 1819, p. 164-165. In 1818, Lancelot Théodore Turpin de Crissé made his second trip to Rome, which he then continued to Naples where he painted the famous views that were published for the Duchess of Berry (1828). Enjoying his fortune and a promising career in the administration of the arts, the painter took advantage of this new stay in the Eternal City to realize several works having the Roman ruins for subject. We recognize well through the vault of the arch of Janus, the basilica San-Giorgio-in-Velabro, on which is leaned the arch of the Argentiers. Turpin has animated his landscape with, in the foreground, a Roman peasant who has uncoupled his two richly harnessed oxen, this last detail can be compared to a drawing by the artist kept in the Louvre Museum. Here the artist plays with light, plunging the foreground of his composition into darkness as if to better reveal the sun-drenched architecture of San-Giorgio. The following year, at the Salon of 1819, Turpin de Crissé exhibited five paintings. One of them was noticed by the critics and was the subject of a long description: "Look at the View taken under the Arch of Janus", under this portico, deprived of the sun's rays, a tired ploughman is resting; grey oxen, whose species belonged to Italy, are lying down, still harnessed to the ploughshare they had dragged. A kind of trophy is attached to the mast of this plough, whose luxury contrasts with its usual simplicity. Two brown monks, going to fetch provisions, pass under this ancient arch. One sees a temple preceded by a peristyle supported by columns and formerly devoted to paganism; it is now the church of Saint-Georges. A procession of capuchins descends gravely the steps of the temple. In the distance one sees the ruins of the small arch of Septimius Severus, surrounded by green trees. This painting is recommended to the attention of people of taste. The suavity of the brush, the purity of the lines of the architecture, the truth of the tone and the pleasure of the work will satisfy the most difficult. (in Lettres à David sur le Salon de 1819, Paris, Pillet Ainé, 1819, pp. 164-165). We can compare our painting with that of our artist's father who was also his master, Henri Roland Lancelot Turpin de Crissé, representing the same subject (Angers, Musée des Beaux-Arts).