Gallery Label Harmonia, the daughter of the king of Syracuse, was threatened by a band of conspirators who had murdered her family. To save her life, she exchanged clothes with a slave girl who, dressed as the princess, was murdered. Moved by the courage of the girl, Harmonia revealed her identity and was also killed. Critics praised the picture as full of fire when it was exhibited at the Salon of 1751. It was engraved by C.N. Cochin that same year.
Notes Harmonia, the daughter of the king of Syracuse, was threatened by a band of conspirators who had murdered her family. To save her life, she exchanged clothes with a slave girl who, dressed as the princess, was murdered. Moved by the courage of the girl, Harmonia revealed her identity and was also killed. Although it was exhibited in the Salon of 1751, the reviewer in the Mercure de France (see Refs. 1751) states that this picture was painted several years earlier; the author of "Judgmens sur les principaux ouvrages" (Refs. 1751) notes that the "Death of Harmonia" is from Pierre's earliest period. Engraved by C. N. Cochin in 1751.
Provenance private collection, France (until 1959; sold to Wildenstein); [Wildenstein, Paris and New York, 1959–69; sold to MMA]
Exhibition History Paris. Salon. 1751, no. 35.
New York. Wildenstein & Co., Inc.. "Gods & Heroes: Baroque Images of Antiquity," October 30, 1968–January 4, 1969, no. 27.
New York. The Metropolitan Museum of Art. "Patterns of Collecting: Selected Acquisitions, 1965–1975," December 6, 1975–March 23, 1976, unnumbered cat.
References Florent Le Comte or Coypel. Jugemens sur les principaux ouvrages exposés au Louvre, le 27 août 1751 . Amsterdam, 1751, pp. 17–18 [identification of possible author provided by Montaiglon, see Collection Deloynes, Bibliothèque Nationale, Paris]. comte de Caylus. "Exposition des ouvrages de l'Académie Royale de Peinture, faite dans une des sales du Louvre le 25 août 1751." Mercure de France (October 1751), p. 165 [reprinted as a Salon livret; author's name provided in Collection Deloynes, Bibliothèque Nationale, Paris]. Explication des peintures, sculptures, et autres ouvrages de messieurs de l'Académie Royale . . . Exh. cat.Paris, 1751, p. 22, no. 35. Marcel Roux. Inventaire du fonds français, graveurs du XVIIIe siècle . 4, Paris, 1940, p. 658 (under no. 317, Cochin's engraving). Henry Bardon. "Les peintures a sujets antiques au XVIIIe siècle d'après les livrets de Salons." Gazette des beaux-arts 61 (April 1963), pp. 220, 232, 241. Eunice Williams. Gods & Heroes: Baroque Images of Antiquity . Exh. cat., Wildenstein & Co., Inc. New York, 1968, unpaginated, no. 27, pl. 40. Claus Virch. "Reports of the Departments." Metropolitan Museum of Art Bulletin 29 (October 1970), pp. 76–77, ill. Everett Fahy. "New European Paintings Galleries." Metropolitan Museum of Art Bulletin 30 (October 1971), p. 59. Anthony M. Clark in The Metropolitan Museum of Art: Notable Acquisitions, 1965–1975 . New York, 1975, p. 88, ill. Monique Halbout and Pierre Rosenberg. "Jean-Baptiste Marie Pierre's 'The Adoration of the Shepherds'." Bulletin of the Detroit Institute of Arts 56, no. 3 (1978), pp. 175–76 n. 22. Howard Hibbard. The Metropolitan Museum of Art . New York, 1980, p. 364, fig. 659. Jean-Luc Bordeaux in The Rococo Age: French Masterpieces of the Eighteenth Century . Exh. cat., High Museum of Art. Atlanta, 1983, p. 19. Eric M. Zafran. The Rococo Age: French Masterpieces of the Eighteenth Century . Exh. cat., High Museum of Art. Atlanta, 1983, p. 55. Colin B. Bailey. The First Painters of the King: French Royal Taste from Louis XIV to the Revolution . Exh. cat., Stair Sainty Matthiesen. New York, 1985, pp. 109, 142, no. 150 (inventory), ill. Alisa Luxenberg in The Dictionary of Art . 24, New York, 1996, p. 773. Joseph Baillio et al. The Arts of France from François Ier to Napoléon Ier . Exh. cat., Wildenstein & Co., Inc. New York, [2005], p. 78.