Jean II Restout, a prominent figure in eighteenth-century French art, stands as a testament to the enduring power of artistic dynasties and the nuanced evolution of style during the Rococo period. Born into a family deeply embedded in the arts, he carved out a distinguished career, primarily known for his large-scale religious and mythological paintings. His work, characterized by its dramatic intensity, refined execution, and sincere emotional depth, bridged the grandeur of the late Baroque with the emergent elegance of the Rococo, leaving a significant mark on the artistic landscape of his time. This exploration delves into his life, his artistic development, his key works, his role within the influential Royal Academy of Painting and Sculpture, and his interactions with the vibrant artistic milieu of eighteenth-century Paris.
Early Life and Artistic Heritage in Rouen
Jean Restout, who would later be known as Jean II Restout or Jean Restout the Younger to distinguish him from his father and other artistic relatives, was born on March 26, 1692, in Rouen, Normandy. The city of Rouen, with its rich medieval history and thriving artistic community, provided a fertile ground for his early development. His lineage was steeped in artistic talent. His father, Jean I Restout (1666-1702), was a painter, though less renowned than his son would become. More significantly, his mother, Marie-Madeleine Jouvenet (1655-1729), was the sister of Jean Jouvenet (1644-1717), one of the most celebrated French religious painters of the late seventeenth and early eighteenth centuries.
The Jouvenet-Restout clan was a veritable artistic dynasty. Jean Jouvenet himself was a towering figure, known for his powerful and dramatic religious compositions, often on a grand scale, which adorned churches and chapels throughout France. His style, rooted in the French classical tradition of Charles Le Brun and influenced by Venetian color and drama, was a dominant force. Other members of the extended family, such as Marc Restout (1616-1684) and Eustache Restout (1655-1743), were also painters, contributing to a familial environment where artistic pursuits were central. This upbringing undoubtedly exposed young Jean II to the principles of art from a very early age, shaping his aspirations and providing him with foundational knowledge.
Parisian Training and the Influence of Jean Jouvenet
Around 1707, seeking to further his artistic education and follow in the footsteps of his illustrious uncle, Jean II Restout moved to Paris. This was a critical step, as Paris was the undisputed center of the French art world, home to the Royal Academy of Painting and Sculpture and the most significant patrons. In Paris, he entered the studio of Jean Jouvenet, becoming his devoted pupil. Jouvenet's influence on his nephew was profound and lasting. He instilled in Restout a respect for the grand tradition of history painting, particularly religious subjects, and taught him the techniques for creating large, complex compositions with dynamic figures and expressive gestures.
Jouvenet's workshop was a hub of activity, producing numerous altarpieces and decorative schemes. Working alongside his uncle, Restout would have participated in the execution of these commissions, learning firsthand the practical aspects of a successful painter's career. He absorbed Jouvenet's penchant for dramatic lighting, rich, though sometimes somber, color palettes, and the ability to convey profound religious sentiment. However, as Restout matured, he would develop his own distinct style, infusing the gravitas inherited from Jouvenet with a lighter touch and more refined elegance characteristic of the emerging Rococo sensibility. The death of Jean Jouvenet in 1717 marked a turning point, pushing Restout to establish his own independent career.
Entry into the Royal Academy and Early Successes
The Royal Academy of Painting and Sculpture (Académie Royale de Peinture et de Sculpture) was the premier art institution in France, controlling art education, exhibitions (the Salons), and access to royal commissions. Membership was crucial for any artist aspiring to a significant career. Jean II Restout quickly sought to establish himself within this institution. In 1717, the year of his uncle's death, he was "agréé" (provisionally accepted) by the Academy. This was often based on the presentation of preliminary works that demonstrated promise.
His full reception as a member came on August 29, 1720. For this, he submitted his "morceau de réception" (reception piece), a mythological painting titled Alpheus and Arethusa Pursued by Diana (sometimes simply Alpheus and Arethusa). This work, now housed in the Musée des Beaux-Arts in Rouen, depicted the Ovidian tale of the river god Alpheus's pursuit of the nymph Arethusa, who is transformed by the goddess Diana to save her. The painting showcased Restout's mastery of composition, his skillful rendering of the human form, and his ability to imbue a classical subject with dynamism and grace. It was a clear demonstration of his talents and his adherence to the academic hierarchy of genres, which placed history painting (including mythology and religion) at the apex.
This early success set the stage for a long and distinguished career within the Academy. He became an assistant professor in 1730, and then a full Professor on November 24, 1733. His dedication to the institution and his growing reputation led to further advancements. He would later serve as Rector and, eventually, Chancellor of the Academy, positions that underscored his esteemed status among his peers.
Artistic Style: Rococo Sensibilities and Religious Gravitas
Jean II Restout's artistic style is often categorized within the Rococo, yet it retains a seriousness and emotional depth, particularly in his religious works, that distinguishes him from some of his more overtly decorative or lighthearted contemporaries like François Boucher or Jean-Honoré Fragonard. He successfully navigated the transition from the grand manner of the late Baroque, as exemplified by his uncle Jouvenet, towards the more intimate and elegant Rococo.
His compositions are typically well-structured, often employing dynamic diagonal lines and complex groupings of figures that create a sense of movement and drama. While Jouvenet's figures could be robust and almost sculptural, Restout's figures often possess a more slender elegance and refined grace. His color palette, though capable of richness and depth, tended to be somewhat lighter and more varied than Jouvenet's, incorporating pastel shades alongside more saturated hues, reflecting the Rococo preference for a brighter chromatic range.
In his religious paintings, Restout excelled at conveying sincere piety and profound spiritual experiences. Works like The Death of Saint Scholastica (1730, Musée des Beaux-Arts, Tours) or The Ecstasy of Saint Benedict demonstrate his ability to depict moments of divine revelation and saintly devotion with both dignity and emotional intensity. He avoided the excessive sentimentality that could sometimes affect religious art, instead imbuing his scenes with a palpable sense of spiritual conviction. His figures, even in moments of ecstasy or suffering, maintain a certain classical composure.
His mythological and historical paintings, while less numerous than his religious works, also display his characteristic blend of drama and elegance. Orpheus Descending into Hades to Reclaim Eurydice (c. 1728, National Gallery of Ireland, Dublin, though some sources suggest a later date or a different version for the Louvre) is a fine example, capturing the pathos and tension of the classical myth. He also undertook decorative schemes for royal and private residences, demonstrating his versatility.
Major Works and Commissions
Throughout his career, Jean II Restout received numerous important commissions, primarily for churches and religious institutions, but also from royal and private patrons. His reputation as a leading religious painter of his generation ensured a steady flow of work.
One of his most celebrated early religious works is The Presentation of Jesus in the Temple (1735), painted for the Church of Saint-Roch in Paris. This large-scale altarpiece is notable for its balanced composition, the expressive gestures of the figures, and the tender depiction of the Virgin Mary and the infant Christ. Another significant commission was for the Abbey of Saint-Denis, for which he painted The Miracles of Saint Peter series.
His Pentecost (1732), created for the Abbey of Saint-Denis and now in the Louvre, is a monumental work that exemplifies his ability to handle complex multi-figure compositions with clarity and dramatic force. The descent of the Holy Spirit is depicted with a powerful sense of divine energy, yet the apostles react with individualized expressions of awe and inspiration. The use of light and shadow is particularly effective in heightening the spiritual drama.
Restout also contributed to the decoration of royal residences. He worked at the Palace of Versailles and the Trianon. For the Hôtel de Soubise in Paris (now part of the Archives Nationales), a masterpiece of Rococo interior design, he contributed to the decorative ensembles, working alongside other prominent artists of the period like Germain Boffrand, Charles-Joseph Natoire, and François Boucher. He also received commissions from foreign patrons, including Frederick II of Prussia for the Neues Palais in Potsdam.
His preparatory drawings and oil sketches, many ofwhich survive, offer valuable insights into his working methods. These studies, such as the Study for the Illness of Ph. Serge, reveal his careful attention to anatomy, pose, and expression, and his process of refining compositions before committing them to the final canvas.
Contemporaries: A Network of Collaboration and Competition
The Parisian art world of the eighteenth century was a vibrant and interconnected community. Jean II Restout operated within a network of fellow artists, some of whom were collaborators, others competitors, and many simply colleagues within the Royal Academy.
His relationship with François Boucher (1703-1770) is noteworthy. Boucher, a quintessential Rococo master known for his sensuous mythological scenes, pastorals, and decorative paintings, was a dominant figure. While their primary subject matter often differed—Restout focusing more on religious themes and Boucher on secular and mythological ones—they were contemporaries within the Academy and sometimes worked on the same large-scale decorative projects, such as the Hôtel de Soubise. There was undoubtedly an element of professional rivalry, as both vied for prestigious commissions and influence.
Jean-Baptiste Oudry (1686-1755), renowned for his animal paintings, hunting scenes, and still lifes, as well as his role as inspector at the Beauvais and Gobelins tapestry manufactories, was another significant contemporary. Oudry and Restout, along with Boucher, were involved in providing designs for various decorative schemes, including, as mentioned in the initial query, potentially for projects like the "Gate of Damascus" at Versailles, though specific details of such collaborations can be intricate to trace precisely. The tapestry industry, in particular, often brought together various leading painters to create cartoons.
Other important painters of the era included Charles-Joseph Natoire (1700-1777), a rival of Boucher and a prolific decorator, who also worked at the Hôtel de Soubise and later became Director of the French Academy in Rome. Carle Van Loo (1705-1765) was another highly successful and versatile artist, excelling in history painting, portraiture, and genre scenes, and holding high positions within the Royal Academy. Jean-Marc Nattier (1685-1766) was the preeminent portraitist of the French court and aristocracy, capturing the elegance of the era.
In the realm of religious painting, while Restout was a leading figure, he was not alone. Artists like Charles de La Fosse (1636-1716), though of an earlier generation, had paved the way for the coloristic and dynamic style that influenced Jouvenet and, by extension, Restout. Later in Restout's career, figures like Jean-Baptiste Pierre (1714-1789), who would succeed Boucher as First Painter to the King, also contributed to religious and historical painting.
The sculptor Edmé Bouchardon (1698-1762), known for his classical restraint, and the brilliant genre painter Jean-Baptiste-Siméon Chardin (1699-1779), whose quiet scenes of domestic life offered a profound contrast to the grand manner of history painting, were also key figures shaping the artistic landscape. Restout's career unfolded amidst this rich tapestry of talents, each contributing to the multifaceted character of French art in the eighteenth century.
The Restout Dynasty and Teaching Legacy
Jean II Restout was not only a prolific painter but also a dedicated teacher. His role as a professor at the Royal Academy involved instructing students in the principles of art, particularly drawing from the live model and the study of classical and Renaissance masters. He authored a treatise on the principles of painting, Essai sur les principes de la peinture (Essay on the Principles of Painting), which, though perhaps not widely circulated in his lifetime or surviving in a complete published form, indicates his commitment to the theoretical underpinnings of his art.
He continued the artistic lineage of his family by training his own son, Jean-Bernard Restout (1732-1797). Jean-Bernard also became a painter, winning the prestigious Prix de Rome in 1758 (not 1753 as sometimes stated, and certainly not a "Pulitzer Prize," which is an American award for journalism and arts established much later). The Prix de Rome allowed promising young artists to study at the French Academy in Rome, an essential part of academic training. Jean-Bernard Restout was received into the Royal Academy in 1769. However, his career was somewhat overshadowed by that of his father and was also impacted by the French Revolution. The initial query mentioned a dispute between Jean-Bernard and the Royal Academy after winning his prize, leading to his temporary withdrawal; such conflicts over rules or privileges were not uncommon in the highly structured academic environment.
Another notable pupil, who also became his son-in-law, was Jean-Baptiste Deshays de Colleville (1729-1765), often known simply as Jean-Baptiste Deshays. Deshays was a highly talented history painter who also won the Prix de Rome (1751) and was seen as one of the most promising artists of his generation. His style showed the influence of Restout's dramatic compositions and emotional intensity, blended with a vibrant colorism. His early death was considered a significant loss for French art.
Anecdotes, Controversies, and the Art World
The art world of the eighteenth century, like any other, had its share of anecdotes and minor controversies. The story of Restout's painting Ananias Restoring the Sight of Saint Paul (1719) being found in an antique shop in Antwerp, initially misattributed or considered a copy of a work by the Spanish Baroque master Alonso Cano, highlights the complexities of attribution and the sometimes-circuitous journeys of artworks. Such discoveries and reattributions continue to be a part of art historical research.
The loss or destruction of artworks over time is an unfortunate reality. The mention of a Triumph of Saint Augustine (1730) being lost or damaged underscores the vulnerability of large-scale decorative paintings, particularly those in churches or public buildings that might undergo renovations, suffer from neglect, or fall victim to historical upheavals like the French Revolution. Many of Restout's works were created for ecclesiastical settings, and the Revolution saw widespread confiscation and destruction of church property, which undoubtedly led to the loss of some of his oeuvre.
The competitive nature of the Academy and the pursuit of royal favor could also lead to tensions. While specific major public disputes involving Jean II Restout himself are not prominently recorded, the art world was rife with rivalries for commissions, academic positions, and critical acclaim at the Salons. His steady ascent through the academic ranks and consistent patronage suggest a high degree of respect from his peers and patrons.
Later Years, Death, and Enduring Legacy
Jean II Restout remained active as a painter and influential academician throughout his life. He continued to receive important commissions and to participate in the activities of the Royal Academy. His dedication to his craft and his role in upholding the tradition of history painting, particularly religious subjects, were unwavering.
He passed away in Paris on January 1, 1768, at the age of 75. At the time of his death, he held the prestigious position of Chancellor of the Royal Academy, a testament to the high esteem in which he was held. He was buried in the Church of Saint-Germain-l'Auxerrois in Paris.
Assessing Restout's influence on subsequent generations, particularly on Neoclassical painters, requires careful consideration. Restout was fundamentally a man of his time, a master of the late Baroque and Rococo styles. The Neoclassical movement, which gained momentum in the latter half of the eighteenth century and came to dominate French art under figures like Jacques-Louis David (1748-1825), represented a significant stylistic and ideological shift away from the Rococo. David and his followers, such as Antoine-Jean Gros (1771-1835) and Jean-Auguste-Dominique Ingres (1780-1867), championed a return to the perceived purity and moral rigor of classical art, emphasizing clear outlines, sculptural forms, and heroic subject matter.
While Restout's work, with its emphasis on serious themes and dramatic composition, might be seen as possessing a certain gravitas that contrasted with the more frivolous aspects of Rococo, he was not a direct precursor to Neoclassicism in the way that, for example, early proponents of classical revival like Joseph-Marie Vien (1716-1809) were. Restout's artistic language remained rooted in the painterly traditions of the Baroque and the elegant dynamism of the Rococo. Therefore, it's more accurate to say that Restout represented the culmination of an earlier tradition rather than a direct instigator of the Neoclassical revolution. His influence was more keenly felt by his direct pupils and by those who continued to work within the tradition of religious painting in the mid-eighteenth century.
His paintings are now found in major museums across France and internationally, including the Louvre in Paris, the Musée des Beaux-Arts in Rouen, Tours, Orléans, and Rennes, as well as collections in Ireland, Germany, and Russia. These works continue to be studied for their technical skill, their emotional power, and their embodiment of a significant phase in French art history.
Conclusion: A Respected Master of His Era
Jean II Restout was a highly accomplished and respected painter whose career spanned a significant period of transition in French art. Born into an artistic dynasty and trained by his eminent uncle Jean Jouvenet, he absorbed the lessons of the grand tradition of French religious painting. He skillfully adapted this heritage to the evolving tastes of the eighteenth century, infusing his work with the elegance and dynamism of the Rococo while retaining a profound emotional depth and compositional strength.
As a leading member and eventual Chancellor of the Royal Academy of Painting and Sculpture, he played an important role in the institutional art world of his time, both as a practitioner and a teacher. His numerous commissions for churches, royal residences, and private patrons attest to his contemporary renown. While perhaps not as revolutionary as some artists who followed him, Jean II Restout stands as a crucial figure who maintained the vitality of religious and historical painting during the Rococo era, leaving behind a substantial body of work that continues to command admiration for its artistry and sincere expression. His life and career offer a valuable window into the rich artistic culture of eighteenth-century France.
