The Last Day of Corinth - Tony ROBERT-FLEURY (1837 - 1911)

Tony ROBERT-FLEURY (1837 - 1911)
The Last Day of Corinth
Oil on canvas
51 x 73 cm
Circa 1866
Provenance: Artist's studio (See Photo)

This early work depicts the third day following the Battle of Leucopetra in 146 B.C. This crucial confrontation in the Achaian War sealed the downfall of the Achaean League against the might of the Romans. Lucius Mummius Achaicus crushed the already weakened Greek troops. This victory led to the destruction of Corinth, the end of Greek independence and the advent of a new era of Roman domination.

The 1870 Salon catalog presenting the final painting, Le Dernier Jour de Corinthe (The Last Day of Corinth), describes this episode in the following terms: “On the third day after the battle of Leucopetra, the consul Mummius entered Corinth, evacuated and deprived of defenders... Women and children were sold into slavery. Many of the inhabitants perished in the flames, while the city, after having suffered horrible pillage, was destroyed at the sound of the trumpet. The buildings were set ablaze, and the whole area between the walls went up in flames”. (Livy. Book II, chap. 15)

Painter Tony Robert-Fleury illustrates the distress of the women of this ancient city, once the most prosperous in Greece. Terrified by their impending fate, they take refuge at the feet of the statue of Athena. In stark contrast, general Lucius Mummius and his army look triumphant and glorious, towering over the burning city.

This preliminary study for “The Last Day of Corinth” heralds the artist's ambitious project, the final work of which is exhibited at the Musée d'Orsay (size 400 x 600 cm). The “Ottoz Frères” stamp on the back of the canvas, dated between 1859 and 1866, and the information that it took the artist three years to complete the large painting for the 1870 Salon, lead us to date our work around 1866.

This study is a key to understanding the artist's progress towards the completion of his final canvas. It reveals Tony Robert-Fleury's introspection about his work, and shows many repentances. The tripod, originally intended for the background, now occupies a central position. The statue of Athena has also been raised and brought to the fore.

Compared to the final version, the Roman general blends more into the crowd, and the helmet belonging to his army, placed on the ground, disappears. These changes accentuate the image of a total Roman victory over the Greeks. The women, initially dressed in white in the study, later wear more colorful outfits and are more nude in the final version, heightening the tragedy of the scene. The tripod of religious celebration gives way to Roman armor referring to a warlike celebration. The statue of Athena changes position and symbolism: standing with her shield, symbolizing war and defense, in the study, she is seated with her spear in the final version, symbolizing wisdom and offensive combat. In both versions, the goddess wears an aegis, a sheepskin to protect sovereignty, in stark contrast to historical reality. The dense black smoke comes from the temple in the study, but emanates from the city in the final version, revealing the actual site of the Temple of Apollo.

This preparatory work occupies a prominent place in the artist's studio, demonstrating the importance he attached to it (see photo taken between 1885 and 1890). It appears alongside the portrait of his master Paul Delaroche twenty years after the final version was exhibited.