03 — ARTWORK
Hippomenes and Atalanta
- MEDIUM
- Oil on canvas, 141 x 162
- TYPE
- Mythological
PALETTE
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THIS REPRODUCTION
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CURRENT LOCATION · Musée des Beaux-Arts (Tours)
- FILE
- 1300 × 970 px · JPEG
COMMENTARY
UNDERLINED TERMS ARE DEFINED IN THE GLOSSARY.
Charles de La Fosse and Antoine Coypel had a considerable share in the creation of the new style at the end of the sixteenth century, but other artists such as Bon and Louis de Boullogne the Younger devoted themselves exclusively to it. Compositions such as Bon's TriumphWith growing interest from the early 14th century in the history of ancient Rome came a fascination with the city's conquests, the wars by which they were won - and the ceremony which marked their success: the victor's triumph. The knowledge that the privilege of being commemorated by one of these enormous and costly processions of warriors, loot and prisoners was given sparingly, only to the sole commander of a major victory over a foreign army of whom at least 5000 were slain, added to the glamour of the triumph. Its centrepiece was the chariot of the victor himself. Dante gave one to Beatrice in Purgatorio XXIX: 'Rome upon Africanus ne'er conferred / Nor on Augustus's self, a car so brave'. But it was tentatively with the relief carvings on the Triumphal Arch (1452-66) at Castelnuovo in Naples commemorating Alfonso the Magnanimous, and finally with Mantegna's superb Triumph of Caesar cartoons (Hampton Court), that the visual reconstruction of a Roman triumph became complete. Meanwhile, in an age which did not like the idea of large numbers of victory-flushed soldiers parading through its streets, the military triumph became sublimated, as it were, into a number of less controversial forms. This was largely under the influence of Petrarch's 'Trionfi' - poems describing the processions commemorating the triumphs of love, chastity, death; fame, time and eternity. Disseminated soon after his death, they soon appeared in illuminated manuscripts, and the triumph scene became a popular one for woodcuts, decorated marriage chests and other paintings, most beautifully of all on the backs of Piero della Francesca's portraits of Federigo da Montefeltro and his wife, Battista Sforza. Other 'triumphs' were invented: of the seasons, of virtues and of the arts. Nor was the theme allowed to be simply a profane one. Just before his death Savonarola published his 'Triumph of the Cross', in which the reader was invited to imagine 'a four-wheeled chariot on which is seated Christ as Conqueror.' Before it go the apostles, patriarchs and prophets, beside it the army of martyrs, behind it, after 'a countless number of virgins, of both sexes', come the prisoners: 'the serried ranks of the enemies of the Church of Christ.' This aspect of the theme was magnificently realized in Titian's great woodcut 'The Triumph of the Faith'. of Aphrodite at Tours, probably exhibited in the SalonIn the French language of the 18th and 19th centuries it designated an actual exhibition space, as well as the academic art exhibitions staged in the Salon d'Apollon of the Louvre since 1667. From 1737, the exhibitions took place biennially and, after the French Revolution, annually in the Salon Carré of the Louvre in Paris. Towards the end of the 19th century the official Salon jury was dissolved in order to make way for a committee of state-approved artists, i.e. former Salon members, who created the highly influential Société des Artistes Français. of 1699, or his Hippomenes and Atalanta in the Hermitage mark the transition between light Italianism in the manner of the later Bolognese and the full RococoA style of design, painting, and architecture dominating the 18th century, often considered the last stage of the Baroque. Developing in the Paris townhouses of the French aristocracy at the turn of the 18th century, Rococo was elegant and ornately decorative, its mood lighthearted and witty. Louis XV furniture, richly decorated with organic forms, is a typical product. Leading exponents of the Rococo sryle included the French painters Antoine Watteau (1684-1721) and Jean-Honoré Fragonard (1732-1806), and the German architect Johann Balthasar Neumann (1687-1753). Rococo gave way to Neo-classicism.. It was from this transition that sprang François Lemoyne, the next link in the chain, and the master of Boucher.
OTHER WORKS BY BON BOULLOGNE
The archive catalogues no further works by this artist.
TRY SAME COLLECTION →CITE THIS RECORD — BIBTEX
@online{wga-r47370773271b69,
author = {Krén, Emil and Marx, Daniel},
title = {Hippomenes and Atalanta by BOULLOGNE, Bon},
organization = {{Web Gallery of Art}},
date = {2026-09-13},
url = {https://beta.wga.hu/artists/boullogne-bon-rc0cc4e8010d515/hippomenes-and-atalanta-r47370773271b69},
urldate = {2026-09-13},
langid = {english}
}ACCESSED 2026-09-13. REPLACE THE AUTHOR FIELD WITH THE COMMENTARY AUTHOR WHERE ONE IS NAMED.