Page 296 - TMS Art Collection

No.210715 Pg.7

This is an idealized adaptation of the fable which is most notable in iconographic
representations from the Renaissance, whose influence can be seen in both the
painting’s technical as well as its thematic aspects. Carle Van Loo latched onto a
trend in Neoclassism that thanks to Louis XV’s patronage had its imagery informed
by the Rococo which informs the imaginary, the fluidity of the figures as well as
the elegantly formal parts of the frame.
Regarding the latter, there is ample evidence that the Oil Painting’s Rococo frame
lends weight to the painting’s origin and authenticity. The Louis XV frame was
hand-carved and significantly complements this Oil Painting, with garlands of
flowers and festoons.

5. As previously mentioned, there is an indissoluble unity between the frame and
the Oil Painting, which in turn is evidence of the painting’s age, school and artistic
movement. The decoration of the Oil Painting is typical Rococo: indeed with its
flowing garland of flowers on all four sides, tightly interwoven with ribbons that
hold a small arching name tag with the words CARLE VAN LOO 1705-1765
inscribed on it. From this we can safely assume that the master framer as well as
the person who commissioned the frame evidenced that it was painted by Carle
Van Loo.

6. Notes regarding the frame:

- The frame itself is a magnificent work of art, handcrafted with garlands
of flowers and ornaments, finished in Gold Leaf.
- Corresponds to the Baroque trends and characteristics of not only the
time but also Luis XV’s tastes.
- It was conceived and designed exclusively for this Carl Van Loo Oil
Painting in the dimensions which correspond to this particular work.

7. Taking into account careful observation of the Original Oil Painting we can
assume where it stands in time, the school, the artistic movement and the painter.
Photographic details permit us to better understand what was said with regard to
the framing. The attached documents contain photographs of various other
paintings which are useful for identifying the painter’s style, his composition
choices and his use of color.

These attached documents are complemented with a biography of Carle Van Loo
and important critical notes about the artist that help establish an accurate frame
of reference.
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