William-Adolphe Bouguereau’s Temptation of 1880 appears upon first impression as a painting with no particular meaning. Two members of the peasantry, a young woman and a nude little girl, relax beside a pond on a summer day, enjoying the simple pleasures of life as well as one another’s company. The soft figures and calm environment portray innocence and tranquility. A viewer might assume that the painting was created purely for aesthetic purposes. As an academically trained painter, Bouguereau was the archetypal Salon artist in the late 1800s, and thus fashioned his works to appeal to the taste of his consumers. Many of his works, including Young Girl Defending Herself against Eros and Temptation, represent the popular academic art of the Third Republic.
The most pronounced characteristic in Temptation is William-Adolphe Bouguereau’s ability to incorporate his refined, idealized style with certain aspects of the Naturalism movement, including the degree of detail of the figures and their environment. From these visual characteristics, one can interpret the context of the painting as an expression of unity and love between the two female figures. However, to fully understand the painting requires the consideration of contemporary events that greatly impacted the art of the late 1800s. Perhaps just as important is comprehending the continuing role religion may have had on the interpretation of the work. The presence of the apple and the female figures can be interpreted as a depiction of the Old Testament story of the temptation of Eve in the Garden of Eden. Considering visual as well as historical elements allow the viewer to understand the contextual meaning of a work of art.
Naturalism, a movement that took hold in the Salons of 1870 to 1890, operated on the basis of direct observation. Precisely staged scenes were meant to depict real-life conditions and environments in a highly detailed, carefully polished manner. While several of Bouguereau’s pieces, such as Young Girl Defending Herself against Eros, represent the refined, almost frivolous, characteristic of “pretty” academic Salon paintings that were popular in the Third Republic in France, Temptation expresses an acute awareness of the Naturalism movement.
Bouguereau’s attention to detail and sensitivity to the surroundings convey a particular ambiance and moment in time. A girl in her late teenage years lies in a lush, secluded area. Propped on her elbows in front of a pond, she holds an apple tightly in front of her as if about to take a bite. However, her attention is not directed towards the apple, but at the naked younger girl who sits beside her. The little girl returns the intense gaze, interested in the young woman’s questioning expression as well as the tempting item she holds. The little girl, no more than three years old, awkwardly leans forward almost to the point of tipping over, but is able to balance herself with her hands. Bouguereau depicts the toddler’s young age through cherub-like qualities, such as her pudgy arms, hands, and cheeks. The creases in her neck and wrists, as well as the puckering of her elbows, accentuate the prevalence of her lingering baby fat and are enhanced through strong chiaroscuro effects. Even the sunlight that filters through the leaves and the abundance of folds in the adolescent’s skirt and blouse are natural elements that have been carefully observed, then imitated to create a life-like appearance.
The naturalistic qualities of the painting do not only result from carefully applied brushstrokes; Bouguereau is attentive to poses and gestures, expressions, and even shared, familial traits between the two female figures. For example, the little girl keeps herself upright only through the support of her chubby arms. The viewer can sense that without her palms bearing her weight, the young girl would surely lose her balance and fall over. The toddler’s gesture and expression also indicate that she has found appeal in the older girl’s possession; she awkwardly attempts to crawl forward to retrieve it. The viewer can predict the next movement of the toddler, envisioning her inquisitive actions; in this way, Bouguereau has created motion in a static medium through his naturalistic depiction. The little girl’s expression, mouth agape and eyes wide, intensely portray her attraction to the teenager’s tempting fruit. Bouguereau accentuates the contours of the young girl’s face through a profile view, resulting in an exaggerated expression of intrigue. The young woman holds her gaze and slyly smiles, aware of the little girl’s desire; however, she remains unshaken. The viewer can sense that the adolescent will not be persuaded to give up her fruit. However, she is not selfishly guarding it; she appears to be teaching the younger girl the importance of self-constraint and perhaps sharing.
