Pierre Parrocel

As the descendant of a ramified dynasty of artists beginning with his grandfather, Georges Parrocel (died circa 1613), and his father Louis as well as his elder brother Jacques-Ignace, all of whom were esteemed in their field, Pierre was predestined for an artistic career. Like his brother, Pierre left Avignon to begin his studies in Paris under the guidance of his uncle Joseph before continuing his training firstly in Venice and then under Carlo Maratta in Rome, where he became a member of the Accademia di San Luca in 1730. He is mostly known for his altarpieces and works on religious themes, a large number of which are now to be found in the south of France. Parrocel ran a flourishing studio in Avignon and his drawings were very highly prized by prominent contemporary art collectors, such as the Duc de Choiseul and the Marquis Philippe de Chennevières (cf. E. Brugerolles, Une dynastie de peintres: les Parrocel, exhibition catalogue École National Supérieure des Beaux-Arts, Paris; Musée Calvet, Avignon, Paris 2007, p. 29). While Parrocel’s painted work has recently received the attention it merits in several publications, his printed oeuvre has hitherto been largely ignored. Parrocel  produced some thirty prints, most of which up to the present day have only found little attention.

This rare etching of a young woman dressed in traditional costume holding a fan is one of a handful of sheets in which Parrocel portrayed Italian costumes and characters. Inspired in part by the series of more than 60 etchings of male and female genre figures made by Salvator Rosa around 1657, various French artists created similar series and single sheets that enabled them to display their talent, imagination and spirited approach (cf. Perrin Stein, in: exhibition catalogue Artists and Amateurs. Etching in 18th-century France, edited by P. Stein, The Metropolitan Museum of Art, New York 2013, p. 167). Bathed in light, the scene radiates the airiness and elegance that are typical of Parrocel’s work. A very fine impression with delicate plate tone and thread margins around the platemark. Minor ageing and traces of handling, otherwise in excellent condition. From the collection of François Heugel (Lugt 3373).