These two paintings, which were made as companion works to hang together, show the moments during and after a gallant hunt for wild animals. The Boar Hunt, a scene of suspense, drama and movement, can be seen as a nod to the aristocratic hunting scenes painted by Dutch artists in the second half of the seventeenth century. It is paired with The Return from the Hunt, which is altogether more peaceful and is closer in spirit to the fêtes galantes of Parrocel’s near-contemporary, Jean-Antoine Watteau, which show elegantly costumed figures in parkland settings.
Parrocel mainly painted battle scenes, particularly the military conquests of the French King Louis XIV, as well as hunting subjects, many of which were royal commissions. The Boar Hunt and The Return from the Hunt were painted in about 1700, probably for the King, who gave them to his son, Louis Alexandre de Bourbon, the Count of Toulouse. They have magnificent frames decorated with carved animal heads, which were probably made around the same time.
These two paintings, which were made as companion works to hang together, show the moments during and after a gallant hunt for wild animals. The Boar Hunt, a scene of suspense, drama and movement is paired with The Return from the Hunt which is altogether more peaceful and romantic.
Parrocel mainly painted battle scenes, particularly the military conquests of King Louis XIV of France, as well as hunting subjects, many of which were royal commissions. He decorated the walls of the Hôtel des Invalides in Paris, as well as the palaces at Marly and Versailles. The leading artist of the day, Charles Le Brun, also explored these subjects. Parrocel would have had ample opportunity to study Le Brun’s work throughout his career.
The Boar Hunt can be seen as a nod to the aristocratic hunting scenes of Dutch painters during the second half of the seventeenth century, such as Jan de Lagoor’s A Woody Landscape with a Stag Hunt, and Jan Hackaert’s and Nicolaes Berchem’s A Stag Hunt in the Forest.
The Return from the Hunt is nearer in spirit to a fête galante, a type of painting that was made very popular in early eighteenth-century France by Parrocel’s near-contemporary, Jean-Antoine Watteau. With its elegantly attired figures, loose brushwork and beautiful rich colours, The Return from the Hunt also owes a debt to Peter Paul Rubens.
Parrocel’s pictures were painted in about 1700, probably for Louis XIV, who gave them to his son, Louis Alexandre de Bourbon, the Count of Toulouse. They have magnificent frames decorated with carved animal heads, which were probably made especially for them as they date from around the same time as Parrocel painted these works.
