François Girardon was born on March 10, 1628 to a founder by the name of Nicolas Girardon in Troyes, France. In his early years he apprenticed under Claude Baudesson, a sculptor and cabinet maker. Around 1647, he was convinced and funded by Pierre Séguier to travel to Rome to study and complete his education in the arts.1 Upon his return to Paris in approximately 1651, Girardon apprenticed with François Anjuier. In 1657, Girardon was accepted to the Académie Royale. In the Royal Academy, he worked through the ranks as Professor (1659), Assistant to the Vice-Chancellor (1672), Vice-Chancellor (1674), and into the position of Chancellor (1695).2 The academy in France was deemed as the official representation of the goals of the monarchy under Louis XIV.
His early work came about through working for Nicolas Fouquet (1615-1680) at Vaux-le-Vicomte. Charles Lebrun took an interest in Girardon's work after the fall of Fouquet, in 1663-4. Under Lebrun's direction, Girardon worked on the Galerie d'Apollon at the Louvre. From this point on his work is concentrated at Versailles and working for Louis XIV. His first major commission was for the Apollo tended by the Nymphs of Thetis, in 1666.
Apollo tended by the Nymphs of Thetis, 1666-73, marble, Apollo Grotto, Versailles
This multi-figured sculpture was planned for the "Grotto of Thetis" or "Apollo Grotto". Girardon was assisted by Thomas Regnaudin (1622-1706), who carved three of the six nymphs. This grouping has its originations in antiquity, not only in its subject matter but also in the representation of Apollo. If one compares the head of the Apollo from the grotto with that of the Apollo Belvedere, 2nd century, one can see the close resemblance in the face and expression. In addition, the position of the body of the grotto Apollo echoes the stance of the Apollo Belvedere.3 This association may have been brought about from Girardon's education in Rome, having seen the Apollo Belvedere at the Vatican. François Souchal suggests that this sculpture "may be considered the manifesto of the classical style that was to predominate at Versailles in the 1660s and 1670s."4 Girardon proved to be one of Lebrun's favorite sculptors and worked throughout the later part of the 17th century on the decoration of the Versailles palace and gardens. The placement of the Apollo tended by the Nymphs of Thetis in the plan of the gardens by Lebrun is at the end of a line established as the path of the sun. The fountain contain Apollo rising on his chariot to start the day begins this path. The use of Apollo helped to propagandize Louis XIV's idea of himself as the "Sun-King". Apollo was seen as the exciter or destroyer. He was considered handsome and carefree, but was the god of music, intellectual inquiry, prophesy, colonization, medicine, poetry and dance (amongst others).5
Apollo Belvedere, 2nd
century, marble, detail, Vatican, Rome
Pierre Legros, Bathing Nymphs, 1668-70, lead, Bain des Nymphs, Versailles
Another piece created for the gardens at Versailles is the Bathing Nymphs, executed by Pierre Legros after designs by Girardon. This representation is "very French" according to George Chase and Chandler Post, because of its lack of heroic-ness and its emphasis on gracefulness.6 This is what distinguished the French classical style from Italy.
Pluto Abducting Proserpine, 1693-1710, bronze, The Getty Museum
Among some of Girardon's other mythological sculptures is the Rape of Proserpine, 1677-99 or Pluto Abducting Proserpine, 1693-1710. The story of Pluto and Proserpine as told by Thomas Bulfinch has the god of the underworld, Pluto, rising out of the earth to capture Proserpine, whom he fell in love with because of an arrow shot by Cupid. Proserpine was the daughter of Jupiter and Ceres. Ceres searched the land for Proserpine and could not find her. Being the goddess of the earth, she refused to let things grow. Thus Jupiter arranged for Proserpine to return to her mother. However, because of trickery used by Pluto, Proserpine could only stay with her mother half of the year and the other half with Pluto. When Proserpine is united with her mother it is said that spring comes and when she is with Pluto, winter comes.7
The Rape of Proserpine, 1677-99, marble, Garden of the Castle, Versaille
This configuration by Girardon, displays the maturity in his style. The complicated interlocking of the three figures is representative of an earlier piece by Bernini of the same name, yet it clearly distinguishes itself from its Italian counterpart. Like Bernini, Girardon chose to represent the figures at the height of the story, right at the moment when Pluto grabs Proserpine and a struggle ensues. However, when comparing the two sculptures it is clear that Girardon is abiding by the rules of French classicism and restrains his figures. His figures are graceful and fluid. In the face of Proserpine, we notice a lack of emotion.
Gianlorenzo Bernini, Pluto and Proserpine, 1621-22, marble, Villa Borghese, Rome
In the Bernini sculpture, we can see the power of Pluto and the desperation in Proserpine's face, as tears run down her face. Beyond the emotion in the faces, we can see the passion in the figures when we look closely at the grip that Pluto has on his victim's body. Looking at Girardon's version, he has decided to restrain his subjects and does not depict the same energy and force that Bernini had.
Yet both of these sculptures have their similarities as well. It appears that both were designed to be viewed from one stand point. Although they are carved in the round, all of the focus is in the front.
Winter, 1675-83, marble, Chateau de Versailles, France
Other sculptures contained in the gardens at Versailles include the Pyramid Fountain and a strong piece titled Winter. This latter piece is described as being on of the most powerful sculptures at Versailles, a result of the pieces created for the "Grande Commande" in 1674.8 This image of an old man is heavy and contained compared to some of his earlier pieces. Yet it still takes its place along side the others in its association with antiquity.
After the death of Lebrun and the appointment of Jules Hardouin Mansart (1646-1708) as Lebrun's successor, Girardon received fewer royal commissions, many going to Mansart's favorite, Antione Coysevox (1640-1720).
Allegorical Figure, 1672-75, marble, Metropolitan Museum of Art, New York
A female figure holding a flower
1 François Souchal, "Girardon, François" The Grove Dictionary of Art Online, ed. L. Macy (29 January 2003) <www.groveart.com>; "Girardon, François" Encyclopædia Britannica from the Encyclopedia Britannica Online (29 January 2003) <search.eb.com/eb/article?eu=37636>; "François Girardon" Catholic Encyclopedia from New Advent Online (12 February 2003) <www.newadvent.org/cathen/06570a.htm>
2 Souchal.
3 "Girardon, François" Encyclopædia Britannica.
4 Souchal.
5 "Apollo" Encylopedia Mythica (13 February 2003) <www.pantheon.org/articles/a/apollo.htm.>
6 George Henry Chase and Chandler Rathfon Post, A History of Sculpture (New York: Harper & Brothers Publishers, 1925), 384.
7 Thomas Bulfinch, "Proserpine" Bulfinch's Mythology Online (17 February 2003) <www.bulfinch.org/fables/bull7.html>
8 Souchal.