Master Apollon House Gallery

William Bouguereau’s Le voeu à Sainte-Anne-d’Auray: A Study of Religious Devotion and Artistic Replication

In 1869, William Bouguereau, the renowned French academic artist, painted Le voeu à Sainte-Anne-d’Auray, a piece that would ultimately capture both the purity of faith and the idealized beauty that defined much of his work. This religious scene, originally exhibited at the 1870 Salon, depicted two young Breton girls in the midst of prayer at the Sainte-Anne-d’Auray basilica. Sadly, the original painting is now lost, but the replica of this work, which exists today, continues to offer insight into Bouguereau’s approach to faith, beauty, and the patronage system that influenced much of his art.

Breton Inspiration and the Shift in Bouguereau’s Focus

In the late 1860s, Bouguereau’s artistic interests began to turn away from Italian subjects to those inspired by Brittany, a region known for its rich cultural and religious history. Bouguereau’s Le voeu à Sainte-Anne-d’Auray reflects this shift, as it depicts two young Breton girls at prayer, embodying the deep religious devotion of the region. The work is grounded in the landscape and religious fervor that fascinated Bouguereau, marking a distinct departure from his earlier Italian-themed works. The choice of a Brittany setting allowed Bouguereau to explore themes of piety and innocence, common throughout his art, but with a deeper connection to the local culture.

Religious Devotion: Faith, Purity, and Naiveté

At the heart of Le voeu à Sainte-Anne-d’Auray is the sincere faith of two young girls, their heads bowed in prayer. Bouguereau’s portrayal of their innocence, the simplicity of their religious devotion, and their purity of belief conveys a timeless reverence for the beauty of the soul. Théophile Gautier, a prominent art critic, praised the original painting for its expression of faith, noting the “pure and naive” nature of the girls’ expressions. Gautier lauded Bouguereau’s ability to depict “the beauty of the soul” through the figures’ faces, capturing a profound emotional depth that transcends religious or cultural boundaries.

In this painting, Bouguereau does not focus on the dramatic or overt religious iconography common in other works of the time. Instead, he conveys a quiet, sincere devotion that reflects his respect for the spiritual and his belief in the idealization of the human form. The girls’ faces, captured in a moment of humble reverence, invite viewers to contemplate the purity of their faith.

Artistic Replication and the Role of the Replica

While the original Le voeu à Sainte-Anne-d’Auray was exhibited at the 1870 Salon, it is now lost to history. However, the existence of a near-identical replica, which is currently the subject of a Sotheby’s auction, offers us a glimpse into the artist’s vision. The replica, signed and dated “W BOUGUEREAU 1869,” measures 58 by 35 1/4 inches and omits the figure of an older woman present in the original composition. This alteration leads to speculation about the genesis of the replica.

It is possible that a patron, perhaps influenced by Bouguereau’s ideals of youth and beauty, requested the removal of the old woman to focus more exclusively on the youthful purity of the two girls. This change might have been made to reflect Bouguereau’s usual preference for idealized figures and his avoidance of hardship, misery, or old age in his work. The decision to reframe the composition, excluding the older woman, could be seen as an attempt to hone in on the theme of innocent devotion—a motif that is central to Bouguereau’s work.

The Role of Bouguereau’s Signature Style

Bouguereau’s distinctive style, characterized by his smooth brushwork and emphasis on idealized figures, is evident in both the original and the replica of Le voeu à Sainte-Anne-d’Auray. The skin tones, flowing robes, and delicate facial expressions of the two girls exemplify Bouguereau’s mastery of pictorial workmanship. His smooth finish—where lines are nearly imperceptible, creating a flawless surface—remains one of the hallmarks of his technique, setting him apart from other artists of the period.

Bouguereau’s style also avoided representations of the struggles of old age or the hardships of life. His works, including Le voeu à Sainte-Anne-d’Auray, focus on idealized beauty and the purity of youthful figures. This preference for the ideal over the real is why the replica is so fitting within the broader context of Bouguereau’s artistic vision. The girls, with their serene faces and postures, are not just faithful devotees; they are embodiments of spiritual purity, untouched by the realities of age or suffering.

The Significance of the Replica

The existence of the replica of Le voeu à Sainte-Anne-d’Auray invites us to reflect on the role of patrons and artistic replication in 19th-century France. Bouguereau, like many other artists, was influenced by the tastes and demands of his patrons. It is possible that the commissioning of the replica was driven by a desire to emphasize the youthful purity of the two girls, as opposed to the inclusion of the older, more weathered figure. The removal of the older woman aligns with Bouguereau’s own artistic preferences, which consistently favored the representation of idealized beauty.

Moreover, the replica’s provenance, which includes notable collectors and institutions like Goupil & Cie. and the Walker Art Center, underscores its significance as a work deeply rooted in academic art traditions. The auctioning of the replica at Sotheby’s highlights the continued fascination with Bouguereau’s work and the enduring appeal of his pictorial perfection.

Conclusion: Bouguereau’s Vision of Beauty and Faith

Le voeu à Sainte-Anne-d’Auray remains a testament to Bouguereau’s mastery in capturing both the inner beauty and outer idealization of the human form. Through the replica, we gain insight into Bouguereau’s artistic process, his deep fascination with Breton culture, and his ability to depict the innocence and purity of youth. While the original painting may be lost to history, the replica endures as a powerful reminder of the artist’s religious devotion and his unwavering commitment to idealized beauty. The existence of the replica raises questions about the role of patronage, artistic choices, and the creation of replicas in the 19th-century art world, while continuing to celebrate Bouguereau’s timeless artistic legacy.