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Work Moses Saved from the Waters
Department of Decorative Arts: 17th century
Moïse sauvé des eaux
© 1995 RMN / Daniel Arnaudet
In 1627, painter Simon Vouet was recalled from Italy by Louis XIII. The king immediately commissioned him to produce models for an Old Testament tapestry comprising eight panels. The tapestry of Moses Saved from the Waters was part of a series intended to decorate the Palais du Louvre, woven in the Louvre workshops. It is one of the finest examples of the revival that Vouet brought to the art of tapestry, both as regards the composition of the central scene and the way the border is executed.
A tapestry designed like a window
Five young women discover the baby Moses in a basket on the water. Pharaoh's daughter is richly dressed in a robe with a gold ground and a full blue cloak. She is making a gesture of surprise at seeing the child, who is concealed by two of her attendants. Behind this group, we see columns and ruins, which close off the landscape to the right. On the left, however, the Nile is flowing and we are given a view into the distance through the trees lining the two banks. The border forms an architectural frame decorated with moldings. With its effects of light and shade, it suggests a window opening onto the scene in front of us.
The First Painter to the king submits models for the tapestry
Simon Vouet spent several years in Rome studying classical art, as well as the great Renaissance and early seventeenth-century painters. In 1627, Louis XIII recalled him to Paris in order to give him several commissions. During the sixteenth century, Raphael's cartoons for the Acts of the Apostles tapestry had brought about a real revival of tapestry production in Brussels. Encouraged by this example, Louis XIII asked his First Painter to produce some tapestry models of his own. The choice of theme centered on the Old Testament, and eight models were chosen to make up the hanging. We do not know whether the series executed in the Louvre workshops for Louis XIII originally included more than two sections, but when the general inventory for the Royal Furniture Repository was drawn up between 1663 and 1673, only the two sections that have come down to us were listed: the second, the Daughter of Jephthah, is kept in the Mobilier National collection.
A model adapted to the techniques of tapestry
Vouet was perfectly able to work within the limitations imposed by tapestrymaking. The landscape occupies a large part of the central scene, which was traditional in the art of tapestry. Meanwhile, the trees and the column create vanishing lines that open up the space. The idealized features and rounded shapes of the five young girls add to the gentleness of the group, whereas the stances of the figures and the movement of the drapery imbue the scene with a quiet animation. The border is worked in monochrome, as in a bas-relief. Putti are combined with the classical-style foliage, arabesques, and medallions, and all are depicted in a range of light, luminous shades. The artist did not hesitate to allow the figures in the frame itself to extend beyond the border, thus reinforcing the link with the central scene.
BibliographyThuillier Jacques, Vouet, Paris, Editions de la Réunion des musées nationaux, 1991, pp. 504-507.
Un temps d'exubérance. Les arts décoratifs sous Louis XIII et Anne d'Autriche, Paris, Galerie nationale du Grand Palais, Editions de la Réunion des musées nationaux, 2002, n 89, pp. 158-159.
Atelier du Louvre
Moïse sauvé des eaux
ParisMarque de Raphaël de la Planche
Tapisserie, laine et soie
H. : 4,95 m. ; l. : 5,88 m.
Ancienne collection de la CouronneVersement du mobilier national, 1906 , 1906
Troisième pièce de la tenture de L'Ancien Testament, d'après Simon Vouet, exécutée pour Louis XIII, pour le palais du Louvre
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