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拍品專文
Peu nombreuses dans l’œuvre de Millet, les peintures et dessins à l’iconographie religieuse, tout comme ses portraits d’ailleurs, datent du début de sa carrière et aboutiront à une présentation au Salon de 1846 d’une Tentation de Saint Jérôme. Le tableau a été refusé et Millet réutilise la toile pour présenter l’année suivante d’un Œdipe détaché de l’arbre sous le numéro 1193 (Musée des Beaux-Arts du Canada, Ottawa, inv. no. 822). Ainsi, le présent dessin est le seul témoignage qu’il nous reste de ce tableau du Salon de 1846 comme l’écrit Moreau-Nélaton en 1921 en le décrivant tel : 'un croquis tranquille, où la nudité solitaire de l'habitat du désert s'absorbe dans la contemplation d'un crâne humain : voilà tout ce qu’il nous reste pour tenir lieu du tableau qui n’est plus et pour nous aider à en imaginer le prestige’ (Moreau-Nélaton, op. cit., p. 55).
Paintings and drawings of religious subjects are rare in Millet’s œuvre, as are his portraits, which all date from the beginning of his career; the most important of these was his Temptation of Saint Jerome, presented to the Salon in 1846. The painting was not accepted and Millet reused the canvas in the following year to exhibit Oedipus taken down from the tree under number 1193 (National Gallery of Canada, Ottawa, inv. 822). The present drawing is therefore the only surviving record of the painting of 1846, which Moreau-Nélaton described in 1921 as follows: ‘ a quiet sketch, in which the solitary bareness of the desert dwelling fuses with the contemplation of a human skull – that is all that remains as a record of a painting that is no longer, and as a token of its prestige’ (Moreau-Nélaton, op. cit., p. 55).
Paintings and drawings of religious subjects are rare in Millet’s œuvre, as are his portraits, which all date from the beginning of his career; the most important of these was his Temptation of Saint Jerome, presented to the Salon in 1846. The painting was not accepted and Millet reused the canvas in the following year to exhibit Oedipus taken down from the tree under number 1193 (National Gallery of Canada, Ottawa, inv. 822). The present drawing is therefore the only surviving record of the painting of 1846, which Moreau-Nélaton described in 1921 as follows: ‘ a quiet sketch, in which the solitary bareness of the desert dwelling fuses with the contemplation of a human skull – that is all that remains as a record of a painting that is no longer, and as a token of its prestige’ (Moreau-Nélaton, op. cit., p. 55).