190 - Cornelia Louisa REVEST, known as Louise Revest (before 1790–1856)

Cornelia Louisa REVEST, known as Louise Revest (before 1790–1856) The Young Girl in the Blue Dress (1821). Oil on canvas, signed and dated “Louise Revest 1821.” In a beautiful gilded wooden frame with palmette motifs. H. 60.5 x W. 50 cm. Frame: H. 76 x W. 65.3 cm. Exhibition Most likely the Paris Salon, 1822, under no. 1080 (“Several portraits, same number”). History Louise Cornélie Revest was born in Amsterdam in 1790, or shortly before. Her baptismal record, recorded at the Amstelkerk, indicates that she was the daughter of Agatha Poelman and Joseph Marie Revest, a teacher at the Klinken school, both originally from Delft. She grew up in Amsterdam, where she acquired the first basics of her art. Around 1811, like many European artists, she moved to Paris, then a major cultural center. François Benoit, who studied the appeal of the French School in the early 19th century, mentions her among the foreign painters who settled in the capital. The only woman mentioned alongside the Swiss artist Henriette Rath, she is listed there alongside the great names from the former Netherlands: “The Netherlands had sent artists then in their prime, such as Suvée, Duvivier, and Kinson—all three from Bruges—as well as the Redoutés from Saint-Hubert, the Van Spaendoncks from Tilburg, Swagers from Utrecht, Van Dael from Antwerp, Sauvage from Tournai, Ansiaux from Liège, Senave from Loo, Ommeganck, etc.; and also some up-and-coming artists: Van Brée from Antwerp, Odevaëre from Liège, Caloigne from Bruges, Rutxhiel from the Ourthe, Canlert from Tournai, Van Geel from Mechelen, Suys from Ostend, Ary Scheffer from Dordrecht, and Mlle Revest from Holland.” She then furthered her training under Gioacchino Serangeli (1768–1852). Like her master Jacques-Louis David (1748–1825), he taught painting to women, and Louise undoubtedly rubbed shoulders in his studio with some of her renowned female peers, such as Antoinette Béfort (1788–1868) and Julie Volpelière (1780–1842). She also studied under Pierre Antoine Augustin Vafflard (1777–1837) before exhibiting for the first time at the Salon in 1812. Remarkably for a young woman of her time, she immediately took on the grand genre by presenting a history painting, *Ossian Singing of Oscar’s Heroic Deeds to Malvina*. She persisted in this direction and regularly exhibited subjects drawn from sacred and secular history—a practice very rare among women artists, who were generally confined to portraiture or still life. Indeed, religious subjects presented at the Salon by women could be counted on one hand in the early 19th century. Among them was *Mary Magdalene at the Feet of Christ*, exhibited by Louise Revest in 1814. Undeniable proof of her talent, this painting—whose subject matter was then considered more of a male domain—was acquired by the government and subsequently sent to Marseille. She was awarded a second-class medal on two occasions, in 1819 and 1831. At the 1819 Salon, her *Toilette de Psyché* drew widespread admiration and was acquired by “one of the most discerning art connoisseurs,” the Duke of Berry. Eager to establish her reputation beyond the capital, she also exhibited in the provinces, in Lille and Douai, in 1824 and 1825. Her talent for religious painting enabled her to create numerous works based on those of the masters, such as Murillo, Correggio, and Carracci. Her paintings now adorn churches throughout France, such as *The Repentance of Saint Peter* after Guercino, which decorates the church in Pantin (ill. 3). But she was also sought after for portraits. She received numerous public commissions for the *Portrait of Louis Philippe* after Xaver Winterhalter (1805–187), intended for provincial town halls. She also produced a copy of the *Portrait of the Duke of Biron* after Georges Rouget (1783–1869) (ill. 2). In 1829, she opened a studio for young women, as evidenced by an advertisement published in *Le Figaro*: “Mlle. Revest, whose works have been noted at recent art exhibitions, informs mothers that she has just opened a painting studio at 5 Passage Violet.” The Portrait Virtuoso Early in her career, she exhibited very few portraits—only one or two per Salon—likely to avoid being confined to a genre considered minor and to prove herself in the realm of major painting. The 1830s marked a turning point: with her reputation now indisputable, she seemed to fully embrace her talent as a portraitist and exhibited almost exclusively portraits at the Salon. Critics were effusive in their praise, and crowds flocked to view Mlle Revest’s works. Regarding the 1840 Salon, the *Journal des artistes* wrote: “But let us return to the fine works. First, scattered throughout all the galleries, are five conscientious