Talk:The Rape of Europa (Claude Lorrain)

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Lorrain repeatedly addressed the plot of the abduction of Europa. For the first time he painted such a picture in 1634 (oil on canvas; 172 × 215 cm; private collection), and already in it he developed both a general compositional structure and the very image of the central group, which in various variations will be involved in his subsequent works. . The next painting in this cycle was the work of 1647, now located in the Central Museum of Utrecht (oil on canvas; 93 × 118 cm; in Liber Veritatis under No. 111); a canvas of 1658 from an English private collection is very close to it (in Liber Veritatis No. 144). Next, a Moscow painting was created, and after it, in 1658, Lorrain painted a picture from Buckingham Palace (oil on canvas; 102 × 135 cm) [4]). On the back of a sheet with a drawing of a painting from the Pushkin Museum from "Liber Veritatis" there is a late inscription, where Philippe de Graveron is named as the customer of the painting [5] . This entry is erroneous and in fact should refer not to the Moscow painting, but to the version from Buckingham Palace: it is known that the London painting was purchased in 1829 at the Christie's auction, and the previous owner bought it in 1787 in Paris at the sale of the collection of the Marquise de Bandeville , who was the granddaughter of Philippe de Graveron [6] .
According to E. B. Sharnova, Lorrain, when creating directly the figures of Zeus in the form of a bull and Europa with maids, was repelled from the painting by Paolo Veronese on the same plot [7] , located in Venice in the Doge's Palace .
The picture has a steam room - “ Battle on the Bridge ” (“Battle between Emperors Maxentius and Constantine”), also created by order of Pope Alexander VII, included in “Liber Veritas” under neighboring No. 137, which has a completely similar provenance and, together with “The Rape of Europe » located in the Pushkin Museum [8]

BD2412 T 13:11, 24 August 2024 (UTC)[reply]