The Funeral (Les Obseques): various satyrs gathered in a clearing, funeral pyre to left, a freshly dug grave and a tomb decorated with satyr heads and antlers in center, upon which musicians are seated, from 'The lives of satyrs' (La vie des satyres)

Art Historical Context

In the whimsical etching *The Funeral (Les Obseques)*, created around 1700–1720, Claude Gillot and Jean Audran depict a satyr gathering in a forest clearing. To the left, a funeral pyre blazes, while at the center stands a freshly dug grave beside a tomb adorned with satyr heads and antlersperched atop it are musicians playing lively tunes. Part of the series *The Lives of Satyrs (La vie des satyres)*, this print humorously anthropomorphizes these mythological half-man, half-goat revelers, known from ancient Greek lore as followers of Dionysus, blending mourning with merrymaking. Gillot, a French Rococo precursor who influenced Antoine Watteau, likely designed the scene with its playful, theatrical flair, while Audran, a master engraver, executed the etching—a printmaking technique using acid to bite intricate lines into a metal plate. This medium allowed for rich detail and tonal depth, making complex compositions like this accessible through multiples. Measuring about 10 x 14 inches, the work captures the era's fascination with fantasy and satire. Held in the Metropolitan Museum of Art's Drawings and Prints department (Bequest of Phyllis Massar, 2011), *The Funeral* reflects early 18th-century French interest in mythological burlesque, poking fun at human rituals through satyr excess. It's a delightful window into Rococo's lighthearted elegance, inviting viewers to chuckle at eternal party animals facing their final bow.

About the Artist

Claude Gillot|Jean Audran · 1673–1722

Artist known for his elegant designs done in the Rococo manner of Audran; also for his predilection for scenes from the 'comedia dell'arte.' Few paintings survive; his work is known mainly through drawings and etchings. Comment on works: Genre; History