Pygmalion and Galatea is an oil-on-canvas painting by the French painter Anne-Louis Girodet. It represents the myth of Pygmalion and Galatea as told by Ovid in the Metamorphoses. The figures Pygmalion and Galatea are shown with Cupid, the god of desire. Girodet began the work in 1813, but it took him eight years to complete.^[1] It is Girodet's last work.^[1]

Stylistically, the work has elements of both Neoclassicism and Romanticism.^[2] It is now in the collection of the Louvre.^[2]

Pygmalion and Galatea dates from the end of Girodet's career, when he was already a well known figure.

The timeline of his efforts in creating Pygmalion and Galatea is documented in a series of letters dating from 1812 to 1819. The long period of development stemmed from a combination of factors, including trouble in finding models, the death of Girodet's legal guardian Trioson, and Girodet falling ill in 1817.^[1]

The work is set in Pygmalion's house. The painting depicts the moment where Galatea first comes to life, turning from inanimate matter into flesh. The light and smoke from the incense burning near the feet of the two figures create an atmosphere of mystery that accentuates the magic of Galatea's creation.^[1]

The painting was commissioned by the Italian patron Giovanni Battista Sommariva, who wanted a work paying homage to the Italian sculptor Antonio Canova (1757-1822).^[3] Sommariva fled to France after the invasion of Milan by Austrian Troops. He then became virtual dictator of Milan when he later returned to Italy, between the years 1800 to 1802.^[4]

Sommariva began to live in Paris in the year 1806 after Napoleon stripped him of his title and introduced a new ruler, Conte Francesco Melzi e' Eril. It was this event that solidified his role in art and led him to commission of various paintings and sculptures. He focused most of his attention on works in the Neoclassical style, and also had a great love for works depicting mythological figures.^[4] Sommariva's other commissions included Cupid and Psyche by Jacques- Louis David.^[1]

The painting of Pygmalion and Galatea was exhibited for the first time at the Salon of 1819.^[5]

While in Rome, Girodet took inspiration from Renaissance art. The biggest influence came from Michelangelo, particularly his Creation of Adam, which shaped Girodet's approach to the human form. This is evident when looking at the musculature and detailing in both Girodet's pieces and the Creation of Adam.^[2]

• The Burial of Atala
• Portrait of Mlle. Lange as Danae
• Scene from a Deluge