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• Olympus. The Battle of the Giants - The Collection - Museo Nacional del Prado

Olympus. The Battle of the Giants - The Collection - Museo Nacional del Prado

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Francisco Bayeu, who came from minor nobility, trained in Zaragoza under José Luzán (who, years later, would also teach Francisco de Goya). However, a decisive change in the young Bayeu´s style came a

Francisco Bayeu, who came from minor nobility, trained in Zaragoza under José Luzán (who, years later, would also teach Francisco de Goya). However, a decisive change in the young Bayeu´s style came about under the influence of Antonio González Velázquez (1723-93), who visited Zaragoza soon after returning from Italy in 1752, carrying models and drawings by his Italian teacher Corrado Giaquinto (1703-65). Bayeu produced works inspired by these works of Giaquinto, which led to him being awarded a scholarship in 1758 to attend classes with González at the Royal Academy of Fine Arts in Madrid. Bayeu´s studies were cut short, however, due to his ill-temper and, after a quarrel with his teacher, he returned to Zaragoza where he remained until 1763. In that year he returned to Madrid, called to the court on Anton Raphael Mengs´s recommendation that Bayeu serve as his assistant on the decoration of the Royal Palace. From that point on, Bayeu began his ascent in official circles and obtained various important commissions, becoming the most prominent painter in Madrid. His influence extended even to Goya, who at one point declared himself Bayeu´s disciple and later married Bayeu´s sister, Josefa. An artist of manifest skill and inventiveness, Bayeu was one of the most productive fresco painters in the history of Spanish art and he drew on a wealth of pictorial resources. An extraordinary draughtsman and a refined colourist, his work evolved from a baroque style, characterised by warm tones and distantly indebted to Luca Giordano, to restrained compositions in a consistently neoclassical style, reflecting the teachings of Mengs. Initially, however, Bayeu was most influenced by Giaquinto; having perfectly assimilated that artist´s delicate style, Bayeu became one of the most exquisite exponents of Rococo, as is apparent in Olympus: The Battle of the Giants. This canvas is a preparatory sketch for a ceiling fresco in the Dining Room and Ballroom of the Royal Apartments of the Princess of Asturias, María Luisa of Parma, in Madrid´s Royal Palace. The room was painted in 1764, and later became the Daily Dining Room. In his description of the allegorical paintings that decorated the palace ceilings published in 1829, Francisco José Fabre explained the painting´s complicated subject matter: drawing inspiration from texts by Homer, Apollodorus, Ovid and Virgil, the scene depicts the Giants´ efforts to conquer the home of the Gods on Mount Olympus and its defence by Jupiter and his immortal siblings. Among them is Hercules, who felled Titan, the most powerful leader of the assailants. One preparatory sketch for the work is now in the National Library of Spain (Biblioteca Nacional de España), and the Museo del Prado houses around 20 sketches with partial studies for various figures. A copy of the present sketch is in Cogullada (Zaragoza) and another, in grisaille, belongs to the Real Sociedad Económica de Amigos del País in Zaragoza. In both the sketch and the fresco, the growing influence of Mengs is clear. Although the fruits of Bayeu´s training with the German painter are evident here, also apparent in the general arrangement of the composition and in certain figures is the spirit of a luminous, decorative baroque style inspired by Giordano, with dazzling evocations of Giaquinto (Luna, J. J.: Portrait of Spain. Masterpieces from the Prado, Queensland Art Gallery-Art Exhibitions Australia, 2012, p. 116).

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