Léon François Comerre

The Artist's Studio (thence by descent to Denise Lion-Comerre, the artist's grandaughter, and sold: Chambelland & Giafferi, Paris, February 3, 2003, lot 97, illustrated, as La fuite en Egypte)
Sale: Marc-Arthur Kohn, Paris, August 4, 2006, lot 284, illustrated (as La fuite en Egypte)
Acquired from the above sale

Unlined. Varnish has yellowed in several areas. Two spots of loss in foot in foreground. Under UV: Inpainting to address frame abrasion and to address craquelure in woman in profile at left, with additional isolated spots throughout composition.
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In 2003, Léon Comerre’s granddaughter Denise Lion-Comerre sold the diverse contents of the artist’s studio, the present work one of hundreds viewed in public for the first time. Although Comerre is perhaps best remembered for his commissioned portraits of Belle Époque beauties and ballerinas, The Captivity of the Jews in Babylon is one of several impressive interpretations of a traditional Biblical narrative.  Though catalogued as a “Flight into Egypt” in past auctions, the iconography of the captives of all ages and genders, many in family groups, the dropped lyre and flowing Babylon river are all linked to Psalm 137, expressing the sorrow of the Jewish people in exile following the Babylonian conquest of Jerusalem. The motif was popular throughout the nineteenth century for both Prix de Romeand less prestigious competitions.  The scale and high quality of finish of the present work suggests Comerre’s painting was intended to impress both exhibition judges and audience.  

Comerre ultimately was awarded the Prix de Rome in 1875, which funded travel and study through Italy. The artist lived in Rome for over four years, the city’s Classical and Renaissance treasures informing large scale and dramatic works like Jezebel Devoured by Dogs and Samson and Delilah. These compositions have a close stylistic and thematic similarity to the present work. The Captiviity of the Jews in Babylon's high level of detail and emotion also points to Comerre’s appreciation of Naturalism, while the Babylonian motif predicts his later interest in Orientalist compositions.