Who painted The Farnese Hercules, front view [plate 2]?

The Farnese Hercules, front view [plate 2] was painted by François Perrier in 1638.

Where can I see The Farnese Hercules, front view [plate 2]?

The Farnese Hercules, front view [plate 2] is held by National Gallery of Art.

What movement is The Farnese Hercules, front view [plate 2]?

The Farnese Hercules, front view [plate 2] is associated with Baroque.

Artwork

The Farnese Hercules, front view [plate 2]

François Perrier , 1638

The Farnese Hercules, front view [plate 2] is an ink print by the Baroque artist François Perrier. It dates from 1638 and is held in the collection of the National Gallery of Art.

About this work

Overview

François Perrier, a French artist active in the early‑mid‑17th century, produced an etching of the Farnese Hercules in 1638. Executed on laid paper, the print forms part of his series that reproduced notable ancient statues for a French audience, offering a graphic record of classical sculpture.

Subject & Meaning

The image presents a heavily muscled, nude male figure identified as Hercules, modeled after the celebrated Roman statue known as the Farnese Hercules. The pose—weight shifted onto the right leg, left arm leaning on a tree trunk, right arm bent at the elbow—conveys latent strength and readiness for action.

Technique & Style

Perrier employed bold, decisive lines and strong chiaroscuro to emphasize the figure’s volume and tension. The background is rendered with horizontal incised lines that suggest a wall or architectural plane, while the foreground includes a tree trunk and a large rock, adding depth and a sense of environment.

History & Provenance

The etching belongs to Perrier’s series titled *Segmenta nobilium signorum et statuarum quae temporis dentem invidium evasere*, a collection intended to disseminate images of celebrated antiquities. These prints circulated among French artists and collectors, serving as reference material for the adoption of Roman Baroque aesthetics in France.

Context

In the 1630s, French artistic taste was increasingly shaped by classical models, and printed reproductions like Perrier’s provided accessible visual sources. By translating the Farnese Hercules into an etching, Perrier contributed to the broader project of integrating ancient motifs into contemporary French decorative and artistic programs.