Late 18th century, Triumph of Galatea

Late 18th century

Triumph of Galatea

Inlay in ivory, mother-of-pearl and metal sheets on slate, diam. 16 cm

With ebonized wooden frame, 27 x 26,5 x 3 cm

Accompanied by CITES certificate

The object in question is a fine example of applied and decorative art, dating from the late 18th to the early 19th century, a period marked by the full influence of Neoclassicism. The work is an inlay (or inlay), a technique that involved the juxtaposition and precise setting of heterogeneous materials on a solid base. The choice of support, a sheet of deep black slate, is not accidental, but responds to the need to create a deep monochrome background. This base served as a repoussoir, enhancing the luminosity and chromatic contrast of the inlaid materials, an effect reminiscent of pictorial chiaroscuro and lending the work an austere elegance. The execution of the central tondo, enclosed in a simple ebonized wood, demonstrates remarkable mastery in the use of precious materials: the ivory, used to render the mythological figures in this Triumph of Galatea, particularly the semi-nude bodies, exploits its ivory hue and workability to suggest the softness of the flesh and anatomical perfection, in line with neoclassical aesthetic ideals; the mother-of-pearl, whose iridescent hues of this material, derived from shells, are strategically used to simulate brilliance, likely for water, waves, or to lend lustre to specific details; the metal sheets, inserted here for a pictorial function, add luminous and precious details to draperies, jewels, or finishes, contributing to the work's overall sense of luxury.

The subject depicted is of classical mythology: the Triumph of Galatea. The dense and dynamic composition within the circular format captures the sea nymph Galatea in a moment of exaltation, likely accompanied by a Triton or her lover Acis. The figures, immersed in a marine setting that is more suggestive than described, are draped in a billowing red-orange drape that introduces the only dominant warm chromatic element and contributes to the scene's sense of ascending, triumphant movement. The iconography, rendered here in its simplicity, recalls the celebrated pictorial models of great masters such as Luca Giordano and Jacques Stella. Overall, the piece is an eloquent testament to Italian craftsmanship, which adapted traditional semiprecious stone inlay techniques to the production of high-quality decorative art.

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