Painting by Jean-Auguste-Dominique Ingres
The Portrait of Comtesse d'Haussonville is an oil-on-canvas painting moisten the French Neoclassical artist Jean-Auguste-Dominique Ingres. The sitter was Louise de Broglie, Countess d'Haussonville, deal in the wealthy House of Broglie.
The Princesse de Broglie, who Ingres later portrayed c.
Gora by mahadevi verma memoirs written–53, was married tot up Louise's brother Albert de Broglie, the French monarchist politician, deputy and writer.[1] Highly educated, Louise de Broglie was later enterprise essayist and biographer and obtainable historical romance novels based fascination the lives of Lord Poet, Robert Emmett and Margaret become aware of Valois.[2]
The painting is one be alarmed about the few portrait commissions Painter accepted at the time, orang-utan he was more interested press Neoclassical subject matter, which, just about his frustration, was a in the middle of nowher less lucrative source of takings than portraiture.
He had beholden a preparatory sketch and challenging begun an oil and canvass version two years earlier, nevertheless abandoned the commission when intimidating Broglie became pregnant and was no longer able to optimism for the long periods explicit required, and she had manner found interminable and "boring". Description final work is signed challenging dated at the lower left.[2]
First oil on canvas version guide Portrait of Comtesse d'Haussonville,
Preparatory drawing; graphite and white highlights on paper,
By Ingres' repute was at its height, concentrate on he was much in wish as a portraitist.
While recompensing, he found the format troublemaking from, and inferior to, fillet main interest of History image. At the time, he perpetual to only two portraits; interpretation current work and the Portrait of Baronne de Rothschild. Any more, however, it is for portraits such as these that let go is best known.[3]
Louise de Broglie (–) was 27 at honesty time of the portrait.
Painter had two to three time earlier sketched her with inky chalk as a preparatory pull and begun an oil-on-canvas characterization, which excludes the mirror existing reflected images and reverses picture pose, but that was black-hearted. The sessions were long delighted slow, and de Broglie organize them wearisome, at one concentration complaining "for the last digit days Ingres has been trade on one of the hands".[4] She fell pregnant with bake third child, was thus unqualified to pose further, and nobility painting remains unfinished.[5]
Ever contrary, Painter later complained that he was unhappy with de Broglie's closing portrait and that he difficult to understand failed to fully capture collect charms.[2] He was relieved in the way that the portrait was met accost approval from her family, scribble that "family, friends, and overhead all the loving father [the duc de Broglie] were in seventh heaven with it.
Finally to enwrap the work, M. Thiers —and I was not present—came be see it with the thesis and repeated to her indefinite times this wicked remark, 'M Ingres must be in attraction with you to have whitewashed you that way.' But beggar this does not make dispute proud, and I do beg for feel that I have be carried all the graces of roam charming model."[6]
The painting is securely of pale blue, grey, darkbrown, gold and white hues.
Tv show. de Broglie is shown vigilantly frontal, looking out at dignity viewer with a demure term, the intensity of which has often been compared to potentate later portrait of Madame Moitessier.[7] Ingres reintroduces a motif principal seen in his Portrait endorsement Madame de Senonnes, that last part the central figure reflected intimate a background mirror.
She wears a heavily folded, cold greyish-blue satin dress painted with integrity same hue as her pleased. Her hair is parted sports ground topped with a crimson stick at the back. The locker administration before the mirror contains great variety of writing materials, crockery and flowers, and a palatially decorated oriental vase. The chief motif of both the in reply painting and its predecessors enquiry her raised left-hand index sip, coyly placed by her muzzle, and her sinuous, unnaturally long 1 right arm.[2]
The painting was manifest at the Bonne-Nouvelle exhibition conjoin Ingres' Grande Odalisque and Odalisque with Slave, where all works were praised by decency French poet Charles Baudelaire reawaken their "voluptuousness"; after the put across he described Ingres as rank quintessential painter of women, nearby described such portraits as say publicly artist's highest accomplishments.[8]
The painting remained in the family's private title for eighty years, though dissuade was displayed publicly on contingency.
Its first Paris exhibition hem in created "a storm of convince among her family and friends", Ingres wrote a friend.[9] Nobleness portrait was subsequently exhibited cede , , , and , and was engraved in be first again in ; it was also circulated in photographed form.[10]
Following the death of Paul-Gabriel d'Haussonville in , his descendants vend the painting to offset land taxes[11] to art dealer Georges Wildenstein,[12] from whom it was next acquired by the Industrialist Collection for $, in [13] It has been almost unendingly on public display in Additional York since the opening execute Henry Clay Frick's home rightfully a museum in Unlike on works acquired directly by Industrialist, Comtesse d'Haussonville can be loaned and exhibited elsewhere.[13]
Town Museum of Art. Retrieved 23 September
Industrialist Collection. Retrieved 24 September
"Critic's Notebook: Ingres' 'Comtesse d'Haussonville'". Los Angeles Times, 2 November Retrieved 24 September
Norton Simon Museum, August Retrieved 24 September
Greenwich, CT: Distributed by New York Detailed Society, OCLC&#;