37 - Claude Perreau (or Perrault) (–1678)

Claude Perreau (or Perrault) (–1678) Allegories of the Four Seasons: Spring and Summer; Fall and Winter Pair of marble sculptural groups Restorations; the heads of Autumn and Winter have been replaced; some damage and wear Signed “CLAUDIUS PERREAU PARISIENSIS F.” on the edge of the pedestal In good overall condition H. 130 cm; L. 78 cm; W. 43 cm Related Literature Paola Rossi, “‘Claudius Perreau Parisinus’ in Venice,” in *Arte Veneta, Rivista di Storia dall’Arte*, no. 43, pp. 92–97 Provenance Private collection, southern France Bibliography Jules Guiffrey, *Comptes des bâtiments du Roi sous le règne de Louis XIV*. Volume 1, Colbert, 1664–1680, Paris, Guyffrey, ed., 1881, pp. 832, 903, 964, 973, 1049 for Claude Perreau and pp. 1049, 1161, 1289 for the Perreau Widow This pair of intertwined allegorical figures—one representing Spring and Summer, holding a bouquet of roses and a sheaf of wheat, respectively, and the other representing Autumn and Winter—bears the signature “Opus Claudius Perreau Parisini.” This signature and the overall style of the work allow us to associate these allegorical figures with a body of work by the sculptor Claude Perreau. Among this body of work, the first piece attributed to this artist is the funerary monument of René de Voyer d’Argenson (1623–1700) in the Church of San Giobbe in Venice, signed CLAUDIUS PERREAU PARIGINUS FACIEBAT. The location of this early work in Italy sheds light on the stylistic influences behind these allegories: those of a French artist trained in Rome who went on to work in Venice and later in Versailles. Although he has been somewhat forgotten over time, Claude Perreau appears to have been a renowned and respected sculptor in his own day. The works identified as his are few in number, but they all demonstrate consummate technical mastery in the rendering of drapery and a style drawing on both the Italian Baroque manner and French Classicism. His ten-year stay in Venice, between 1653 and 1663, provides us with a body of work on which to base our attribution. They have all been identified by the artist’s specialist, Paola Rossi, through stylistic comparisons, taking into account Perreau’s signatures and correspondence as well. These works attest to the success of this sculptor, who was invited by the Voyer d’Argenson family to Venice, where he worked on prestigious projects, notably the decoration of the Basilica of Santa Maria della Salute under the direction of architect Baldassare Longhena. Among these works, special mention should be made of the two high-relief angels signed “Claudius Pierreau Parisinus” adorning the arch above the altar dedicated to Saint Anthony in the Basilica of Santa Maria della Salute; the four allegorical bas-reliefs representing Clemency, Hidden Faith, Humility, and Manifest Faith—all housed in the same basilica—and, finally, the figure of Saint John the Baptist adorning the altar dedicated to Saint Lorenzo Giustiniani in the Church of San Pietro di Castello. These sculptures reveal a stylistic evolution from the Baroque style observed and studied in Rome toward the Classicism inspired by antiquity practiced by Perreau’s contemporary sculptors. Among them is Nicolas Cordier, whose works reinterpret ancient art and bear strong similarities to Perreau’s art. The figures are rendered in a classical style, with powerful modeling and rounded forms; the faces are depicted in a rigorous profile without dramatic expression. Both artists sculpt figures characterized by precision and classical balance. Saint John the Baptist, as well as our Seasons, clearly reflect a more serene style, with harmonious, carefully studied compositions devoid of Baroque exuberance. There is no emphasis in the drapery, but it serves to enhance the gestures of these female figures, whose arm movements effectively convey an overall impression of gentleness and restraint. While the heads of Autumn and Winter are added later, the preserved faces (with the exception of the noses?) of Spring and Summer still recall those of the angels at Santa Maria della Salute. The eyelids extend toward the temples and lie flush with the face; the cheeks are full, and the chin is quite pronounced. The stylized hairstyles, gathered into a bun above the ears, also echo the hairstyles of the two angels. Finally, the rendering of the drapery is typical of the effects sought in sculptures signed by or attributed to Claude Perreau. The artist alternates, on the bodies of the aforementioned figures, fabrics that lie flush against the skin on the abdomen or thighs, thanks to folds rendered with finesse. These contrast with areas where the fabric becomes thicker and hollowed out to create a more three-dimensional effect, lending dynamism to