Jean Baptiste Marie Pierre born in the year 1714 in Paris, France rose to artistic infamy for his work produced as a student studying at the Académie Royale de Peinture et de Sculpture under Rococo artist and history painter, Charles Natoire. Little is recorded regarding Natoire’s successor and his personal life however, the emotion depicted within Pierre’s collected works has a hauntingly enchanted presence one that injects a bit of the artist himself into the paintings, giving the viewer a glimpse of insight into his genius. In 1750 Pierre painted, The Abduction of Europa [fig. 1] also commonly known as The Rape of Europa based on the Greco-Roman myth of Europa, the mythological mother of King Minos of Crete. According to the myth which is delivered most famously in Ovid’s Metamorphoses, Europa is abducted by Jupiter who hides in the guise of a beautiful white Cretan bull. When gathering flowers nearby Europa comes across the bull and is instantaneously enamored. Jupiter then carries her off on his back through the sea to the island of Crete where she serves as the first Queen of Crete. In his description of the bull Ovid writes, “In color he was white as the snow that rough feet have not trampled and the rain-filled south wind has not melted. The muscles rounded out his neck, the dewlaps hung down in front, the horns were twisted, but one might argue they were made by hand, purer and brighter than pearl. His forehead was not fearful, his eyes were not formidable, and his expression was peaceful.” [1] Pierre’s painting gracefully captures the climax of the poem by representing Europa and the subjects surrounding her in a state of ethereal serenity. He does this by painting the skyscape in dusty blues and greys. In the absence of such color choices for the sky the viewer might engage the work with a different contrasting mood. The eye is drawn to the dark shadowy bird like figure that lurks in the sky above Europa. The inclusion of this symbol in the painting serves as a point of distinction as it is an allegorical symbol for Jupiter who is often accompanied by an eagle in both artwork and mythology. Nonetheless Pierre’s decision to give a predisposed tone to the piece is done through his stylistic choices in painting the sky. The emphasis of delicate colors is definitive of the rococo style. By juxtaposing the pastel pinks of Europa’s shawl against the dusty blues of the sky and the pale ivory pigment used to make up her dress, the artist juxtaposes innocence and seduction in the same work. The way each figure is positioned in the piece has a seductive appeal. Each supporting figure is unclothed while Europa who sits at the center of the piece is adorned in delicate draping ivory garb, eliciting the tone of purity [fig. 2/2.1]. Another way in which Pierre depicts peace and purity is through the bull. In the passage by Ovid, the bull is not described as dangerous of frightening but rather as a symbol of tranquility. The eyes of the bull [fig. 3] are the only feature of the figures that look directly at the viewer thus they are painted with what appears to be cautious precision. The blending of the brown paint with the way in which they glaze slightly over makes them appear hyperrealistic to the viewing audience. They are thoughtful and mysterious and slightly captivating. In combination with each other they allure the viewer, creating a godly presence within the painting. This relates to the guise that Jupiter (king of the gods) takes on as the bull. The subject of the bull lacks conventional masculinity as seen in the way his horns are adorned with flowers. The artist compensates for this lack by making the bull appear enigmatic and entrancing to the viewer instead. While the piece depicts the abduction of Europa the painting does not elicit negative connotations but rather seeks to evoke lust and passion, as seen in the way Pierre has included a cluster of putti in the upper righthand corner of the piece. The cherubs appear whimsical and are created with careful attention. They fall atop one another in the painting in a way that appears clumsy without appearing disorganized and random. The placement and depiction of the figures rivals Francois Boucher’s, 1730 work The Rape of Europa [fig. 4]. The setting and figures alike are much less fantastical than those seen in Pierre's work. This can be seen in the island like location the piece revolves within. Pierre sets his painting in the middle of the sea leaving much more open to the imagination than Boucher does. Unlike Pierre, Boucher’s putti are also less engaging as they lack clear distinction from the clouds they occupy. The figures blend into the dusky gray and are not as defined as the other figures in the foreground of the painting. In contrast to Pierre’s painting the figures in Boucher’s work seem much less organized and convey the feeling of disarray. Though the characters are meant to appear more closely engaged with one another they still feel slightly less cohesive due to the way they are spaced and positioned. An example of this can be seen in the gossiping women to the far left of the scene. These particular figures look like they are meant to be in an entirely different location than the rest, as all the other figures who surround Europa and the bull wear flowing satins of blues and greens. Another major difference between the two works is the characterization of Europa. Boucher's Europa unlike Pierre's Europa is much less modest. She appears less innocent as shown in the way her clothing falls off exposing her breasts. Originally she is depicted as an innocent virgin in Ovid's poem. She is described as terrified when the bull takes off with her which something both artists opt to overlook in their paintings. Europa appears calm and collected in both instances and lacks any depth of facial expressions. The subject's lack of expression could be a product of the time the pieces were produced out of. While their femininity is manipulated within the paintings through their garb and subdued expression they seem to lack human emotion. True, the colors of the pieces assist in the narration of the tale however, it is curious that Ovid, a poet of the BC ages is able to portray Europa in a more human light through his writing than the artists are able to do visually through their works. Another artist to depict Ovid's poem was Rembrandt. Rembrandt's depiction is most resemblant of the poem in Metamorphoses in that is shows Europa in a state of fear and terror as the bull takes off through the water. Rembrandt, an artist of the 17th century baroque era focuses more closely on the emotional aspect of the painting whereas Pierre and Boucher are much more heavily concerned with the colors and setting. Pierre's work is lavish and extravagant adding an entirely new dimension to the myth. It is lust worthy and seductive, and meant to enchant the viewer through its elegance. It deters the viewer from engaging with reality much like the world aristocrats of 18th century France found themselves entranced in through the spectacle that was to come of Versailles. The various attractions associated with the palace made aristocrats and nobility lose sight of the physical world outside of the palace. In this particular clip from film director Sofia Coppola's Marie Antoinette, the aristocrats follow the queen into 'the countryside.' The 'countryside' being shown in this scene is a ways off from the palace of Versailles and is in fact a simulation for the countryside the women refer to. They are able to lose themselves to this fantasy because they are jaded by their own disillusionment and desire for a utopia. Conclusively, the artwork of this time period as seen in Pierre's work is reflective of the socio political atmosphere of the time and location as well. It is meant to be a viewing spectacle for its audience to engage and lose themselves within. ~ [1] Dryden, Garth, and Samuel Garth. Metamorphoses 2.852-858, Ovid. New York, London: Garland, 1976. Print. "The Abduction of Europa." Dallas Museum of Art. N.p., n.d. Web. 07 May 2017. "The Collection." Wallace Collection Online - The Rape of Europa. N.p., n.d. Web. 07 May 2017.
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