The original drawing Jean Boullet La Vespassienne (c. 1950) stands as a masterful example of the artist’s ability to capture the hidden rhythms of Paris. Specifically, this work served as a study for the publication Antinoüs, released by the Société d’Imprimerie Méditerranéenne in 1954. In this composition, Boullet moves beyond isolated portraiture to place his subject within a specific architectural context. The title refers to the iconic Parisian street urinals, which served as significant social landmarks in post-war urban culture. Consequently, this piece offers more than just aesthetic beauty; it provides a profound sociographic record of a bygone era.
Technically, the Jean Boullet La Vespassienne drawing demonstrates remarkable control over the pen and ink medium. The artist utilizes a clean, descriptive line to define the central figure, emphasizing a sturdy, athletic build. Furthermore, the composition creates a sophisticated contrast between the detailed anatomy of the protagonist and the minimalist, geometric outlines of the background buildings. This spatial arrangement draws the viewer’s eye directly to the figure, while the surrounding negative space suggests a quiet, nocturnal atmosphere. Because Boullet worked without preliminary pencil sketches, every stroke reflects a definitive and confident artistic choice.
The connection to the Antinoüs project adds substantial value to this particular drawing. This series explored themes of classical beauty and modern masculinity, often blending historical references with contemporary street life. Jean Boullet, a close associate of Jean Cocteau and Boris Vian, operated at the heart of the French intellectual avant-garde. Throughout his career, he remained dedicated to documenting the “man of the people” with a dignity usually reserved for classical statues. Therefore, owning a work from this specific series connects a collector to a vital period of French cultural liberation.
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