1670 - Paris - 1761
Colin Bailey Les Amours des Dieux Paris 1991,
continued as The Loves of the Gods, Mythological Painting from Watteau to David
Philadelphia and Fort Worth 1992 pp. 171-177
Galloche was a pupil of Louis de Boulongne and eventually became the last important upholder of the classicising traditions of Le Brun; by the time of his death Boucher was in the ascendent. His innovations included taking his pupils out in to the countryside to examine the effects of nature and this is reflected in his use of realistic figure types, fresh colours and harmonious lighting. He became Chancellor of the Academy in 1754. Dr. Colin Bailey (op.cit.) has recently written in extenso on the subject and importance of Galloche, both as a painter in his own right and a teacher and leading influence on a whole generation of French painters, including François Lemoyne and Charles-Joseph Natoire and possibly Boucher. In the same catalogue Dr Bailey published the Hermitage version of this painting, and it seems unneccessary to do other than refer to his excellent work. He makes it clear that the three versions of this composition were made "different in tone" and with the discovery of the present work all three are now known.
It seems reasonable to assume that this, the largest version, is the final one, partly from the evidence of the date and partly internally from the composition. Looking at the two right hand figures, (Actaeon and the seated nymph) and accepting Bailey's view of the Hermitage version as the first one, exhibited in the Salon of 1725, then the artist clearly changed the seated or crouching girl to a more satisfactory figure, falling backward in surprise, in the version sold in Monte Carlo in 1984. In the present painting, dated 1732, this nymph is retained but Actaeon, instead of brushing aside the foliage, balances himself with an outstretched arm holding a bow. This satisfactorily completes the composition in front of the distant landscape, the bow forming an elegant curve with the raised hand of the falling girl, but a clear pentiment of four fingers is still visible in the foliage, indicating the exact first version of Actaeon's own left hand. Although many other pentimenti are visible, these changes and the greater refinement of the central figure of Diana seem to indicate the completion of a composition that had clearly occupied Galloche for several years.
The signature in the present painting is not really legible at all but the date, 1732 is quite clear preceded by a clear 'p.' (pinxit). The painting is in good condition and in an original carved oak and gilded frame of the period.
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