Artwork
Paradise Lost
Paradise Lost is a print by the Baroque artist Peter Paul Bouché. It dates from 1688 and is held in the collection of the Victoria and Albert Museum.
About this work
Overview
This 1688 engraving by Peter Paul Bouché illustrates a pivotal scene from John Milton’s *Paradise Lost*, Book XII, where the archangel Michael escorts Adam and Eve out of Paradise. The print is a modified reversed copy of an earlier work by Michael Burghers, itself based on a design by Henry Aldrich.
Subject & Meaning
The engraving depicts the expulsion of Adam and Eve, symbolizing the Fall of Man. It references Genesis 3, emphasizing the biblical narrative’s influence on Milton’s epic poem. Alterations include the addition of two angels holding a canopy with a dedication to Princess Anne of Denmark, layering royal patronage onto the religious theme.
Technique & Style
Characterized by deep shadows and dramatic poses, the engraving embodies Baroque stylistic elements, creating a sense of tension. The reversal of Burghers’ original print, combined with Bouché’s engravings skills, resulted in a unique visual interpretation of the scene.
History & Provenance
Signed 'G. Freman, delin, P. Bouche, sculp.', the work acknowledges both the designer (Freman) and the engraver (Bouché). Originally designed by Henry Aldrich and first engraved by Michael Burghers, this 1688 version by Bouché reflects a chain of artistic interpretation and patronage, including its dedication to Princess Anne of Denmark.
Context
Created during the Baroque period, the engraving’s dramatic and emotionally charged depiction aligns with the era’s artistic preferences for intense lighting and powerful narratives, often drawn from religious and literary sources.
Legacy
While specific lasting impacts of this engraving on subsequent art are not widely documented, it contributes to the broader tradition of illustrating *Paradise Lost*, reflecting the enduring influence of Milton’s work on visual arts across centuries.
Artist & collection
Artist
Peter Paul Bouché worked in 17th-century prints, turning stories into finely carved lines.
