Piat-Joseph Sauvage

A painter, sculptor, engraver and art teacher from Tournai, Piat Joseph Sauvage is best known for the virtuosity of his trompe-l’œil and grisaille paintings, masterfully mimicking sculpted bas-reliefs. He established himself as a decorative artist in the service of major European courts, producing overdoors, wall panels and ornamental works on various supports, while also creating portraits, miniatures and religious paintings.

The present pair of trompe-l’œil imitates classical sculpture and reflects the emerging Neoclassical style. Mythological and allegorical subjects featuring Greek and Roman figures were especially fashionable in the late 18^th century. Painted on canvas, these two works were probably intended as interior decoration – perhaps as overdoors – and may have formed a part of a larger decorative ensemble.

In the first painting, the scene unfolds in an interior space suggested by garlands, an amphora, and a tripod. At the centre of the composition stands the tomb of a warrior – presumably fallen in battle. To the left, a child raises his arms to the sky in a gesture of supplication, while a female figure approaches to embrace him. To the right, a woman collapses in tears, her face resting on the lid of the sarcophagus, a floral wreath in her left hand. Possibly referring to Book XXIV of the Iliad, this scene could depict Astyanax and Andromache mourning the death of Hector, their father and husband respectively, slain by Achilles.

In the second painting, we see a bard holding a musical instrument – likely Homer – as suggested by his closed eyes, his long staff and the dog by his side, all of which may allude to his blindness. As he plays the phorminx and appears to chant a song, a draped young woman listens intently, leaning against the base of a tree stump. To the left, two small cupids embrace, while on the right, the number VI is inscribed on a pillar. These elements suggest that the bard may be reciting Book VI of the Iliad, in which the Trojan women pray for their warrior safe return, while Hector bids farewell to his wife Andromache and their son Astyanax – drawing a parallel with the other painting, which shows the tragic outcome of the hero’s fate. Alternatively, it could refer to Book VI of the Odyssey, which recounts Odysseus’ encounter with Nausicaa, sent by Athena.