With Love, Falconet

Mr. Falconet was a curious artist, sculptor, theorist and art critic. Talented, inspired, eclectic in his inspirations but not particularly sympathetic, Falconet enjoyed success throughout his life from Paris to St. Petersburg. As an artist-sculptor, he worked with ceramics and philosophy on a personal level thus leaving in the history of sculpture a trace of an artist very much influenced by the aesthetic of his time.

 

An early artist from a modest background.

Described as a child from a humble environment, Etienne-Maurice Falconet (1716-1791) was born into a modest Parisian family from Bugey in southeastern France. He began his apprenticeship as a carpenter but was fortunate enough to be quickly noticed by the sculptor Jean-Baptiste Lemoyne for his small wooden sculptures. Lemoyne was the portrait artist for Louis XV and recipient of the Prix de Rome in 1725. Lemoyne took him under his wing and completed his education then became his benefactor.His talent quickly made him the subject among the artistic circles of the time. He was immediately  noticed by the emblematic woman of this period in the arts: the Marquise de Pompadour, mistress of the king and a great patron, who commissioned him for many compositions. This model of the little girl hiding Cupid’s archer was one produced at her request. He was admitted rather late in the Academie in 1754 due to his strong and difficult temper and for frequently quarreling with his sponsors and friends such as Diderot or Catherine II of Russia. He worked for her from 1766 to 1778 and realized the huge and popular equestrian statue of Peter the Great of Russia. This statue was a masterpiece even though he only worked on small and medium formats. This monumental equestrian sculpture was his first and also recognized by the manner in which the horse prances contrasting the traditional equine pose.He tried to escape his modest roots and strengthened his learning by being an art critic and philosopher in his works. A friend of Diderot, he corresponded regularly with him in which they debated on the aesthetics of art, real beauty, imagined works, etc. But their views diverge and the irritable and sarcastic Falconet broke away many times with his friend. He is now known for many philosophical writings on art such as Réflexions sur la Sculpture(Reflections on Sculpture), 1761.

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From Baroque to Neoclassicism, a style that evolved with the times.

What is extraordinary in  Falconet’s works is the aesthetic style that he developed or rather styles. Looking at his sculptures we can trace all the aesthetics from the artistic periods such as Baroque to Neoclassicism to Rococo. Initially he was very influenced by Bernini, Pierre Puget, and Borromini, three emblematic artists from the Baroque period. We find this influence in Falconet’s early works  like his famous Million de Crotona in 1754, exceptional for its dynamic and dramatic composition  and the Annunciation realized for Saint Roch Church. He then moved to smaller more decorative compositions all with finesse and elegance, most of which were commissioned by Pompadour. For his work, he used rarely marble, preferring plaster, terra-cotta, or bisque. In fact he worked at  Sèvres

ceramic manufacturing where he served as Director of sculpture workshops from 1757 to 1766. He was noted for reproducing figures inspired by Boucher’s infants, the Rococo painter par excellence. He then evolved, probably under the influence of artists such as Canova, toward the Neoclassic style. He gathered the aesthetic principles of ancient beauty and finesse previously developed in his  productions. Note for example his bisque piece La douce Mélancoliemade in 1773 and can be admired today at the Hermitage Museum of St. Petersburg, Russia (for the lucky ones!).

With changing his preferred materials, he adapted to the taste of his time. Like the painters of this period (Boucher, Fragonard ...), he must in order to follow the requests of his sponsors.

 

Cupids by Falconet.

Falconet uses the theme of Cupid often in his little compositions from 1750s-1760s. His many depictions of Cupid or women of his entourage are recognized. The theme of Cupid seemed to be the dominant inspiration in his work especially during the time he worked at the Sèvres factory. He is known also for his representations of Hebe and Cupid, Venus nursing Cupid, etc. and often as partnered sets. Both Venus are matching together, Hebe and Cupid complete the group Erigone and Bacchus.

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Today it is a little girl hiding Cupid’s archer proposed by us, a terra-cotta reproduction of the artist’s work circa 1761. In fact, Falconet presented at the Salon of 1761 a plaster study of this figurine commissioned by Madame de Pompadour. This work, realized as a matching piece for Amour Menaçantmade in marble, another request of Madame de Pompadour as a gift for the philosopher Voltaire and exhibited at the Salon of 1737, actually representing Psyche in the guise of a little girl hiding the Cupid’s archer. There are now many copies of this statuette, a model of soft-paste is in the Musée de la Céramique de Sèvres and a glazed earthenware at the Fontainebleau Chateau.

He said in his writings that he wished to depart from the excessive influence of ancient cliches. Yet even he could not completely escape, whether by self-will or in response to his sponsors. Nevertheless, he appeared to be very attached to this theme of Cupid or evoking it (as by using the bow).

 

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This small terra-cotta gives us the opportunity today to reconnect a bit with this acclaimed artist not always plebiscite though one of the greatest of his era. It represents thematically a bit of Falconet’s art. Fans of his art may need it to complete their collection or simply admire it. As for beginners, they will be conquered by the expression of this mischievous little girl and the delicate treatment of flesh, so dear to Falconet.

 

Suzanne Kabanda (Student at I.E.S.A.)