Black chalk heightened with white chalk, on gray-beige paper. Framing lines in pen and brown ink.
16 7/8 x 10 5/16 in. (42.9 x 26.2 cm)
Rogers Fund, 1972
Not on view
One of the founders of French classicism, Le Sueur’s contemporaries considered him on par with Nicolas Poussin and Charles Le Brun. He did not make the traditional trip to Italy, but was trained in the busy studio of Simon Vouet, whose pleasing decorative style he assimilated. He went on, in his independent work, to absorb the lessons of Raphael and Poussin, moving towards a greater simplicity and monumentality. The Metropolitan’s drawing dates to Le Sueur’s late years when he sought to unite severity and refinement in his work. This draped study prepares the central figure of Saint Gervasius in Saint Gervasius and Saint Protasius Led before Astasius (Musée du Louvre, Paris), the first cartoon from a projected series of six commissioned from Le Sueur in 1652 by the church wardens of Saint-Gervais-Saint-Protais, Paris. Le Sueur’s early death prevented him from completing the project. A second cartoon, depicting the Flagellation of Saint Gervasius (Musée des Beaux-Arts, Lyon), was finished after his death by his brother-in-law Thomas Goussé, and the remaining four were assigned first to Sebastien Bourdon and then to Philippe de Champaigne. Following the practice he had learned in Vouet’s studio, Le Sueur carefully prepared this first painting by making nine figure studies, including one for each saint. The study for Saint Protais was formerly in the collection of Georges Pébereau, Paris, Died in 2012, some of his collection went to the Louvre. Although one likely existed, no compositional study has yet come to light. The story of the martyrdom of the Lombard twin brothers Saint Gervasius and Saint Protasius for refusing to sacrifice to idols has its source in Jacques de Voragine’s Golden Legend. In the painting, the two saints, brought before Astasius, are swathed in drapery of a milky whiteness that contrasts with the saturated hues of the surrounding soldiers. Saint Gervasius is shown being led forward by his captors, hands and arms bound and eyes cast downward to further emphasize his tranquil lack of resistance. In the Metropolitan’s sheet, Le Sueur paid very little attention to the features of Gervasius’s face. As is typical for studies of this type, the focus is on the drapery—majestic and light, and brilliantly rendered with delicate white chalk highlights and careful shading in black chalk to model the folds.
Inscription: On verso of old mount, in graphite: "Le Sueur 30c Collect D. Girardon. j. L. p. /12#"
Marking: Mark of Jacques Petithory, JPH in an triangle, not in Lugt, in black ink at lower right of mount and stamped again on verso
François Girardon (French, Troyes 1628–1715 Paris)(per inscription on old mount); possibly among the studies related to the St. Gervasius and St. Protasius tapestry commission noted in the sculptor's "inventaire après décès" (Dean Walker, correspondence, museum files); Jean de Julienne Julienne sale, Paris, March 30- May 22, 1767, part of lot 748 (St. Gervais et St. Protais, figures debouts, 2 dessins, à la pierre noire, rehaussés de blanc, sur papier gris); Coiny(probably)sale, Ozanne & Coiny, Paris, December 2-11, 1811, part of lot 56; Vendor: Jacques Petithory
The Metropolitan Museum of Art. "Seventeenth Century French Drawings and Prints from the Museum's Collections," May 18, 1982–August 22, 1982.
The Metropolitan Museum of Art. "Seventeenth Century French Drawings in the Metropolitan Museum," February 2, 1996–April 25, 1996.
Mérot 2000.D.296; Bean and Turcic 1986.181
Galerie Aubry, Paris Dessins du XVIe et du XVIIe siècle dans les collections privées françaises. Paris, 1971, cat. no. 65, ill.
Jacob Bean in The Metropolitan Museum of Art: Notable Acquisitions, 1965-1975: Drawings. New York, 1975, p. 63, ill.
Jacob Bean Patterns of Collecting: Selected Acquisitions, 1965-1975 Explanatory texts accompanying an exhibition: December 6, 1975 through March 23, 1976. The Metropolitan Museum of Art, New York, 1975, p. 63., ill.
De Michel-Ange à Géricault, dessins de la donation Armand-Valton. Exh. cat., Paris, École Nationale Supérieure des Beaux-Arts. Paris, May 19-July 12, 1981, cat. no. under 138, p. 278, ill.
Jacob Bean, Lawrence Turčić 15th-18th Century French Drawings in The Metropolitan Museum of Art. The Metropolitan Museum of Art, New York, 1986, cat. no. 181, p. 169, ill.
Philip Conisbee "New York French Drawings [exhibition review]." The Burlington Magazine. vol. 128, London, December 1986, p. 924.
Alain Mérot Eustache Le Sueur 1616-1655. Paris, 1987, cat. no. D. 296, fig. no. 414, p. 303.
Hilliard T. Goldfarb From Fontainebleau to the Louvre: French Drawing from the Seventeenth Century. Exh. cat., Cleveland Museum of Art. Cleveland, December 13, 1989-January 28, 1990, fig. no. 95d, p. 189, ill.
Alain Mérot Eustache Le Sueur 1616-1655. Paris, 2000, cat. no. D. 296, fig. no. 414, p. 303, ill.
Emmanuelle Brugerolles , et al. Le dessin en France au XVIIe siècle dans les collections de l'École des Beaux-Arts. Ex. cat. Paris, 2001, note 12, pp. 271, 272.
Pierre Rosenberg, Louis-Antoine Prat, Bruno Ferté Passion for Drawing: Poussin to Cézanne, Works from the Prat Collection. Exh. cat. Art Services International, Alexandria, Va., Alexandria, Virginia, 2004, cat. no. under no. 9, fig. no. 3, pp. 72-75, ill.
Le Dessin français au XVIIe siècle. Somogy. Paris, 2103, fig. no. 696, 288, ill.
Artist: Eustache Le Sueur (French, Paris 1616–1655 Paris)Date: 17th centuryMedium: Black chalk, squared in red chalk. Contours incised for transfer. Framing lines in pen and brown ink.Accession: 1982.93.4On view in:Not on view