DOI Heft:
No. 1
DOI Artikel:Stechow, Wolfgang: Addenda to "The Love of Antiochus with Faire Stratonica"
DOI Seite / Zitierlink: https://doi.org/10.11588/diglit.17159#0017
11. Jean Augustę Dominicrue Ingres, 1860, New York Art Trade
drawing by West with the date 1773, of even more severely classical character than the painting
exists in the Museum of St. Louis, Missouri28.
No representations of the old love story have caused more comment than the magnificient
drawings and the paintings of 1840 (Chantilly) and 1866 (Montpellier) by Ingres29—the latter
little more than a reversed replica of the former. When I discussed these two paintings I was
unacquainted with the version of 1834, which prepares the one in Chantilly30, while I knew of
the one bcgun in 1858 and completed in 1860 for Comte Duchatel from a brief note by Lapauze
only. In this picture (fig. II)31 Stratonice and Seleucus were taken over almost verbatim from
the Chantilly version of 1840 but its Antiochus and Erasiscratus are kept in a less agitated,
more austeremood, and its architecture ismore restrained; and instead of the chair in the fore-
ground there appear the ,,deux grand levriers accouples, dans une attitude de detresse", which
so impressed Lapauze when he found an old photograph of ttus picture among the papers of the
Musee Ingres. This motif vividly symbolizes the elegiac and tragic aspect that characterizes
Ingres' interpretations of the story in striking contrast to de Lairesse's.
28. Sec H. St. Leonard in Bulletin of the City Art Museum of St.'Louis, XXXVI, 1951, p. 48 ff.
29. St. p. 234 ff. and figs. 16 — 18. — On the influence ofGirodet's composition (which I had known from a description only;
St., note 61) on Ingres' early drawing see now Norman Schlenoff, Ingres, Ses sources litteraires, Paris, 1956, pp. 240 ff. and
pl. XXXIV.
30. G. Wildenstcin, The Paintings of J.A.D. Ingres, New York, 1954,Cat.n° 224 and fig. 181; on the New York art market.
31. Ibid., n° 295 and fig. 183. Piglerfp. 35 1) lis ted the picture as having once beenin the Baron Hatvany Collection in Buda-
pest; it was later in the Carl Frisk Colleciton in Stockholm.
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drawing by West with the date 1773, of even more severely classical character than the painting
exists in the Museum of St. Louis, Missouri28.
No representations of the old love story have caused more comment than the magnificient
drawings and the paintings of 1840 (Chantilly) and 1866 (Montpellier) by Ingres29—the latter
little more than a reversed replica of the former. When I discussed these two paintings I was
unacquainted with the version of 1834, which prepares the one in Chantilly30, while I knew of
the one bcgun in 1858 and completed in 1860 for Comte Duchatel from a brief note by Lapauze
only. In this picture (fig. II)31 Stratonice and Seleucus were taken over almost verbatim from
the Chantilly version of 1840 but its Antiochus and Erasiscratus are kept in a less agitated,
more austeremood, and its architecture ismore restrained; and instead of the chair in the fore-
ground there appear the ,,deux grand levriers accouples, dans une attitude de detresse", which
so impressed Lapauze when he found an old photograph of ttus picture among the papers of the
Musee Ingres. This motif vividly symbolizes the elegiac and tragic aspect that characterizes
Ingres' interpretations of the story in striking contrast to de Lairesse's.
28. Sec H. St. Leonard in Bulletin of the City Art Museum of St.'Louis, XXXVI, 1951, p. 48 ff.
29. St. p. 234 ff. and figs. 16 — 18. — On the influence ofGirodet's composition (which I had known from a description only;
St., note 61) on Ingres' early drawing see now Norman Schlenoff, Ingres, Ses sources litteraires, Paris, 1956, pp. 240 ff. and
pl. XXXIV.
30. G. Wildenstcin, The Paintings of J.A.D. Ingres, New York, 1954,Cat.n° 224 and fig. 181; on the New York art market.
31. Ibid., n° 295 and fig. 183. Piglerfp. 35 1) lis ted the picture as having once beenin the Baron Hatvany Collection in Buda-
pest; it was later in the Carl Frisk Colleciton in Stockholm.
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