Who painted L'homme et la couleuvre (Man and the Snake)?

L'homme et la couleuvre (Man and the Snake) was painted by Benoît-Louis Prévost in 1759.

Where can I see L'homme et la couleuvre (Man and the Snake)?

L'homme et la couleuvre (Man and the Snake) is held by National Gallery of Art.

What movement is L'homme et la couleuvre (Man and the Snake)?

L'homme et la couleuvre (Man and the Snake) is associated with Romanticism.

Artwork

L'homme et la couleuvre (Man and the Snake)

Benoît-Louis Prévost , 1759

L'homme et la couleuvre (Man and the Snake) is an ink print by the Romanticist artist Benoît-Louis Prévost. It dates from 1759 and is held in the collection of the National Gallery of Art. Benoît‑Louis Prévost’s hand‑coloured etching, dated 1759, presents a lively tableau set within a formal garden.

About this work

Overview

Benoît‑Louis Prévost’s hand‑coloured etching, dated 1759, presents a lively tableau set within a formal garden. A figure dressed in a green coat and red breeches pulls a bright red cloth from a tree, while a brown cow with yellow horns stands placidly nearby. Architectural elements—a stone column, a low wall, and additional trees—frame the scene, lending it a measured, classical ambience.

Subject & Meaning

The composition juxtaposes human activity with animal tranquility: the man’s vigorous gesture contrasts with the cow’s serene stance, suggesting a dialogue between effort and repose. The pulled cloth may hint at a ritual or domestic task, while the orderly garden setting evokes ideals of harmony and control prevalent in mid‑eighteenth‑century French visual culture.

Technique & Style

Executed as an etching and subsequently hand‑coloured, the work demonstrates Prévost’s command of line and tonal variation. Fine incised details render the foliage, stone architecture, and animal fur, while selective colour—green, red, brown, and yellow—accentuates focal points and reinforces the contrast between the animated figure and the calm bovine.

History & Provenance

Created in 1759, the print belongs to the later phase of Prévost’s career, a period marked by his interest in genre scenes set in idealised landscapes. While specific ownership records are scarce, the piece reflects the broader French print market of the Enlightenment, where such hand‑coloured works were circulated among collectors interested in both decorative and narrative imagery.