art.wikisort.org - Painting

The Judgement of Solomon is a 1742 painting of the Judgement of Solomon by Jean-François de Troy, produced in Rome as part of a commission from cardinal Pierre Guérin de Tencin for his archepiscopal palace in Lyon. The other paintings in the commission included Jesus and the Samaritan Woman. Both works are now in the Museum of Fine Arts of Lyon.

Description

The scene takes place in the palace of King Solomon as evidenced by the columns that we perceive in the background. The king wearing a robe and a turban is crouched in the shadows, seated on his throne with his two advisers. The painting is cut diagonally, highlighting the figures of the executioner, the two women and the newborn babies in the foreground. The executioner, his arm outstretched, firmly holds a knife in his right hand while looking at the king, as if awaiting his order of execution. With his left hand, he clasps the foot of the living child he is about to cut in half. The latter is placed between the two women, further emphasizing their feud. The first woman in the red dress appears pleading and points to the dead child lying at her feet. The second, wearing a blue dress, maintains a defensive position. Their two eyes converge on the king.

Sources

• Xavier Salmon, Jean-François de Troy et Hyacinthe Collin de Vermont : inspiration réciproque ou culture académique commune (à propos d'un tableau du MBA de Lyon), Lyon, Association des Amis du musée de Lyon, 1993.

На других языках

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- [en] The Judgement of Solomon (Jean-François de Troy)

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[fr] Le Jugement de Salomon (Jean-François de Troy)

Le Jugement de Salomon est un tableau du peintre français Jean-François de Troy, réalisé en 1742 à Rome sous la demande du cardinal de Tencin, qui le commanda avec cinq autres toiles afin de décorer le palais de son archevêché à Lyon. Cette peinture à l’huile s’inspire d’un texte de l’Ancien Testament, répondant à la demande importante d’œuvres religieuses au XVIIIe siècle. Lorsque le cardinal fait appel à Jean François de Troy, ce dernier est alors à l’apogée de sa renommée en 1738. Outre sa place de directeur de l’Académie de France à Rome, il endosse la fonction d’ambassadeur culturel.

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