Nymph and Putti; Nymph with a Wreath and Putti with Garlands of Flowers

Sauvage’s name was synonymous with trompe l’oeil (fool the eye) paintings that imitated the low relief carvings in ancient sculpture that became hugely popular during the late eighteenth century. In these unusual examples, Sauvage used a thick slate support to which he added oil paint in imitation of wax, a flexible medium often used by sculptors who were working out a composition before they began carving in unforgiving stone. The result is a brilliant play on artistic process and the differences between painting and sculpture, a recurrent comparison in the Western tradition. The reverse sides of these slate slabs are carved with the name of a cabinetmaker, indicating that Sauvage repurposed his supports from another craftsman’s shop sign.