Jean Auguste Dominique Ingres (1780 – 1867) was a French Neoclassical painter who favored the traditional Neoclassical art over Romanticism, a movement which was quickly becoming popular during his life. And that, basically, was the only reason I wanted to marry him", she said. 1852; MMA 1975.1.186 Joséphine is wearing an evening dress of a light blue silk taffeta, very reminiscent of the mid-eighteenth century. She wears a gold embroidered evening shawl,[5] and an off-the-shoulder,[16] pale blue satin hoop skirt gown,[19] with short sleeves and a lace and ribbon trim, highly emblematic of 1850s evening dress. It was painted between 1851 and 1853, and shows Pauline de Broglie [fr], who adopted the courtesy title 'Princesse'. Her head is tilted to the viewer's left, and her black hair tightly pulled back and bound by blue satin ribbons. The sitter, Louise de Broglie, Countess d'Haussonville, of the wealthy House of Broglie. Well, it was not to paint portraits that I returned to Paris. Jean-Auguste-Dominique Ingres, Princesse de Broglie, oil on canvas, 1851–53 (The Metropolitan Museum of Art). - Mademoiselle Jeanne Gonin (1821) Taft Museum of Art, Cincinnati. It was painted between 1851 and 1853, and shows Pauline de Broglie [fr], who adopted the courtesy title 'Princesse'. [3] Albert was devoted to his wife, and commissioned the painting after being impressed by Ingres's 1845 portrait of his sister, the Comtesse d'Haussonville. In: Bertin, Eric; Tinterow, Gary. Her neck is unusually elongated, and her arms seem boneless or dislocated, while her left forearm appears to be under modeled and lacking in musculature. The life of a determined young girl is changed when she befriends her building's concierge, a solitary woman who is more than what she seems. In 1960, upon the death without heir of his older brother, Maurice, 6th duc de Broglie, also a physicist, he became the 7th duc de Broglie. A later de Broglie assisted the Austrian side during the Seven Years War and was awarded the title Prinz for his contribution. [26], The current frame measures 157 × 125.6 cm at the exterior and is made of pink-orange pine,[27] lined with a garland of gilt-plastered ornament flowers. Unpublished correspondence—that delight of the eager biographer—is not to be had in the case of Madame de Staël, for, as is well known, the De Broglie family either destroyed or successfully hid all the papers which might have revealed any facts not already in possession of the world.. "[29], The majority of critics noted Ingres's attention to detail in describing her clothes, accessories and decor, and saw an artist at the height of his creativity, with a few invoking the precision of van Eyck. [4], Albert approached Ingres around 1850 to undertake the portrait. Pauline was 28 at the time of the painting's completion. Hedvig Gustava Albertina, Baroness de Staël-Holstein or simply Albertine (1797–1838), was the daughter of Erik Magnus Staël von Holstein and Madame de Staël, the granddaughter of Jacques Necker and Suzanne Curchod, wife to Victor de Broglie (1785–1870), and mother to Albert, a French monarchist politician, and Louise, a novelist and biographer. "[6] Although it is unknown whether Louise's portrait was among those commissions Ingres hoped to avoid, preliminary sketches indicate that by summer 1842 he had taken up the task. '. [7] She is pictured in the family home at 90 rue de l'Université in Paris,[8] in an evening dress that implies she is about to go out for the evening. There are visible passages of underdrawing where the artist seems to trace out shapes and positions, established in the preparatory sketches, onto the grounded canvas. Achille Léonce Victor Charles, 3rd Duke of Broglie (French: [viktɔʁ də bʁɔj, - bʁœj]; 28 November 1785 – 25 January 1870), fully Victor de Broglie, was a French peer, statesman, and diplomat.He was the third duke of Broglie and served as president of the Council during the July Monarchy, from August 1830 to November 1830 and from March 1835 to February 1836. Born 21 April 1931 (age 89) ... 1991 La Vraie Madame Gervaisais. See p. 59 in the, "Nous visons 50 000 visiteurs par an au château de Coppet", "A Tale of Two Lovers: de Staël and Constant", "Art View; Ingres's Portrait of a Lady is a Mirror of an Age", "Progression of the Portrait: Ingres and the Comtesse d'Haussonville", "Jean-Auguste-Dominique Ingres: Antiochus and Stratonice, c. 1838", "Ébauche: PORTRAIT DE LA COMTESSE D'HAUSSONVILLE (sale price £218,500 with buyer's premium)", "Treasures From New York's Frick Collection Come to Europe", "Critic's Notebook: Ingres' 'Comtesse d'Haussonville' @ Norton Simon Museum", "The Norton Simon Museum Presents Ingres's, https://en.wikipedia.org/w/index.php?title=Louise_de_Broglie,_Countess_d%27Haussonville&oldid=1011803912, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, This page was last edited on 12 March 2021, at 22:44. The painting is held in the collection of the Metropolitan Museum of Art, New York, and is signed and dated 1853. Gabriel de Broglie in 2010. [8] Her earrings are made from cascades of small natural pearls. The final painting is considered one of Ingres's finest later-period portraits of women, along with the Portraits of Comtesse d'Haussonville, Baronne de Rothschild and Madame Moitessier. 1852; MMA 1975.1.186 Joséphine is wearing an evening dress of a light blue silk taffeta, very reminiscent of the mid-eighteenth century. Musée Bonnat, Bayonne. x 19 3/4 in. Louise would spend months abroad at a time, and her sittings were interrupted by pregnancy. Most critics understood the artfulness of physical deformations, although one writer, writing under the byline A. de. [6], Influenced by the working methods of Jacques-Louis David, Ingres began with a number of nude preparatory sketches, for which he employed professional models. Jean Auguste Dominique Ingres. [19] The precisely rendered details and geometric background create an impression of immobility, though subtle movement is implied by the tilt of her head and the shimmering folds of her dress. She was highly intelligent and widely known for her beauty, but she suffered from profound shyness and the painting captures her melancholia. [6], The painting remained in the family's private possession for eighty years, though it was displayed publicly on occasion. [30] Some writers detected a hint of melancholy in de Broglie's eyes and expression. She published an extended biographical essay in 1858 on the Irish nationalist Robert Emmet,[9] an 1861 biography of Marie Adélaïde of Savoy (Souvenirs d'une demoiselle d'honneur de Mme la duchesse de Bourgogne),[10] and an 1870 biography of Marguerite of Valois (Marguerite de Valois, reine de Navarre). [14], The work was an instant critical and popular success, and widely admired and written about. Her shyness was well known; she was widely considered strikingly beautiful and charming, but those around her would often avoid eye contact so as not to embarrass her. [11][12], The extant sketches date from 1850 to 1853 and are drawn with graphite on paper or tracing paper. [23] Her facial features are statuesque and in places display the quality of porcelain. He became an accomplished artist of both (proper name) New York: Metropolitan Museum of Art, 2003. Created by Beth Harris and Steven Zucker. - Madame Devaucay (1807) Musee Bonnat, Bayonne. by Stae¨l, Madame de; Achille-Le´on-Victor Broglie, duc de; August Louis de Stae¨l-Holstein, Baron. Study, c. 1852–53. Princesse de Broglie, c. 1851–52. See Davies (1934), p. 241, Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie, The Ambassadors of Agamemnon in the tent of Achilles, Don Pedro of Toledo Kissing Henry IV's Sword, Henry IV Receiving the Spanish Ambassador, Joan of Arc at the Coronation of Charles VII, Portrait of Caroline Murat, Queen of Naples, Portrait of Madame Marcotte de Sainte-Marie, https://en.wikipedia.org/w/index.php?title=The_Princesse_de_Broglie&oldid=1015085461, Portraits by Jean-Auguste-Dominique Ingres, Paintings of the Metropolitan Museum of Art, Short description is different from Wikidata, Articles containing Italian-language text, Creative Commons Attribution-ShareAlike License. [4], The painting is composed of gray, white, blue, yellow and gold hues. de Broglie is shown fully frontal, looking out at the viewer with a demure expression, the intensity of which has often been compared to his later portrait of Madame Moitessier. London: Baldwin, Cradock and Joy, 1821. Contemporary gilt decorated half calf leather. New York City, United States Louise, Princesse de Broglie (1818–82) and granddaughter of Madame de Staël, married at the age of eighteen. For any commission to spread over several years, it is likely that he produced many study drawings and lower detail oil paintings in order to prepare for the final piece.
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