Null Circle of Louis Hersent,
French 1777-1860-

Portrait of a lady, seated half…

Description

Circle of Louis Hersent, French 1777-1860- Portrait of a lady, seated half-length, wearing a black dress and a lace bonnet; oil on canvas, 76.5 x 64 cm. Provenance: Private Collection, UK.

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Circle of Louis Hersent, French 1777-1860- Portrait of a lady, seated half-length, wearing a black dress and a lace bonnet; oil on canvas, 76.5 x 64 cm. Provenance: Private Collection, UK.

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Circle of NICOLÁS DE LARGILLIÈRE; early 18th century. "Portrait of a lady. Oil on canvas. Re-drawn. It has faults. It has a frame with faults from the 19th century. Measurements: 82 x 61 cm; 113 x 94 cm (frame). Portrait on indeterminate background of an elegant lady of high class, as it is possible to suppose so much for the dress, of low neckline, decorated with fine lace, and for her powdered wig. The lady's gaze is firmly fixed on the viewer, which adds character to the work and conveys to the viewer a feature about the psychological aspect of the lady that goes beyond the merely pictorial. The quality of the master responsible for the painting is also clear: first, in the economy of means, which keeps the viewer's attention focused on the lady (something to which the neutral background of the painting and the tonal interplay between the dress and the lady's pale skin also contribute); second, in the quality of the drawing used, especially on the face (drawing that predominates over colour and brushstrokes, as was usual in 19th-century art derived from the Neoclassicism of the Academies of Fine Arts). These works must have been executed by a painter belonging to the circle of the master Nicolas de Largilliere, one of the most important French portraitists of the time. In both works we can recognise various stylistic traits similar to those of the artist and his circle, such as the careful detail of the hairstyle and its beadwork, as well as in the drawings of the fabrics, the hair and the lace of the clothing. Largillière painted mainly portraits, although he also produced occasional historical, religious, landscapes and still lifes, subjects he worked on with the same technical mastery as his portraits. One of the greatest painters of the Regency and the reign of Louis XV, Largillière is represented in the Louvre, the National Gallery and the National Portrait Gallery in London, the Hermitage Museum in St Petersburg, the Rijksmuseum in Amsterdam and the Art Institute of Chicago, among other leading art galleries around the world.

Starting price 900 EUR

H. AUBRY-LECOMTE (1787) after HERSENT (1777), The children of the Duke of Berry, 1822, Lithograph Hyacinthe-Louis-Victor-Jean-Baptiste Aubry-Lecomte (1787 Nice - 1858 Paris) after Louis Hersent (1777 Paris - 1860 ibid.): The children of the Duke of Berry, 1822, Lithography Technique: Lithography on China paper, rolled-on on Paper Inscription: At the lower part signed in the printing plate: "Hersent pinx. - Bonnemaison direxit - Aubry-Lecomte delineavit 1822". At the lower part further inscription: "S. A. R. Mgr le Duc de Bordeaux - S. A. R. Mademoiselle - Imp. lith. de Villain". Date: 1822 Description: Louise Marie Thérèse stands on a small chair and holds the hand of her brother Henri d'Artois, Duke of Bordeaux. The painting's political significance as a portrait of a ruler is due to the absence of the actual regent. The father of the two children, Charles-Ferdinand d'Artois, Duke of Berry, was murdered seven months before Henri's birth by Pierre Louis Louvel, a saddler in the royal stables, on 13 February 1820 in front of the Paris Opera. Louvel wanted to end Bourbon rule in France with this assassination, but created a martyr who now symbolised the Restoration in France. His posthumous successor Henri d'Artois, the enfant du miracle, became Charles X's successor after his abdication following the July Revolution, although he was unable to remain in France. After the death of Charles X, Henri was again proclaimed the rightful king of France by the Bourbon loyalists and after both 1848 and 1870 he was to ascend the throne again as Henry V, but this failed. The masterly graphic depiction of the Infante shown here is therefore particularly interesting because it celebrates the continuation of the reign after the assassination of the Duke of Berry. The comparison with the Christ child in the stable suggests itself and the fixated gaze prefigures a claim to power that is to be honoured. The painter Louise Hersent (1777 Paris - 1860 ibid.) studied under Jean-Baptiste Regnault and became a celebrated portrait and history painter. He was a member of the Institut de France and was appointed professor at the École des Beaux-Arts. Keywords: Children, Genre, Bourdeaux, Bourbon, France, Interior, Family, Revolution, 19th century, Biedermeier, Portraits, France, Size: Paper: 43,1 cm x 31,7 cm (17 x 12,5 in), Plate: 32,8 cm x 26,7 cm (12,9 x 10,5 in)

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