Artibus et Historiae no. 20 (X)

1989, ISSN 0391-9064

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JEAN-LUC BORDEAUX - Jean-François de Troy — Still an Artistic Enigma: Some Observations on His Early Works

Revisionism and art historical rehabilitation are current trends in recent scholarship, but Jean-Francois de Troy, unquestionably one of the most talented, versatile, yet neglected artists of his generation, has not found a biographer since Briere and therefore still remains an enigma. His contribution continues to suffer from critical bias even though his works may fetch high prices on the market.

This study concentrates on the early stylistic development of the artist, from about 1708 to 1738. The recent acquisition by the J. Paul Getty Museum of three major canvases by De Troy encouraged this author to re-examine the painter's early works and evaluate his originality and contribution. De Troy was indeed a master of several categories of painting, an insatiable student of nature, and perhaps the most Rubenesque artist of his time. He was more indebted to the tradition of the school of Charles Le Brun, Antoine Coypel, and Charles de La Fosse than has previously been acknowledged, as he relied unabashedly on their compositional invention. His gallant subjects may not achieve the gentle amorous poetry of Watteau or the vital spark of La Fosse's erotic mythologies, but they can certainly be more colorful and convincing. De Troy's portrayal of a particular place or situation could be matchless but his facility and success led him to overlook psychological refinement and to indulge in unsavory repetitions. In the category of history painting, especially in his works executed after 1738, he may be seen as a link between the school of Le Brun and the neo-baroque style of J. M. Vien and F. A. Vincent, while in his tableaux de mode de Troy represented the epitome of the genre in Europe and influenced successive generations of French artists well into the nineteenth century.