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The painting remained in the family's private possession for eighty years, though it was displayed publicly on occasion. Its first Paris exhibition in 1846 created "a storm of approval among her family and friends", Ingres wrote a friend. The portrait was subsequently exhibited in 1855, 1867, 1874,
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Ever contrary, Ingres later complained that he was unhappy with de
Broglie's final portrait and that he had failed to fully capture her charms. He was relieved when the portrait was met with approval from her family, writing that "family, friends, and above all the loving father were delighted with
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She wears a heavily folded, cold grey-blue satin dress painted with the same hue as her eyes. Her hair is parted and topped with a crimson ribbon at the back. The dresser before the mirror contains a variety of writing materials, pots and flowers, and a lavishly decorated oriental vase. The central
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The painting is one of the few portrait commissions Ingres accepted at the time, as he was more interested in
Neoclassical subject matter, which, to his frustration, was a far less lucrative source of income than portraiture. He had made a preparatory sketch and had begun an oil and canvas version
130:
Louise de
Broglie (1818–1882) was 27 at the time of the portrait. Ingres had two to three years earlier sketched her with black chalk as a preparatory drawing and begun an oil-on-canvas painting, which excludes the mirror and reflected images and reverses the pose, but that was abandoned. The
139:—and I was not present—came to see it with the subject and repeated to her several times this wicked remark, 'M Ingres must be in love with you to have painted you that way.' But all this does not make me proud, and I do not feel that I have conveyed all the graces of that charming model."
131:
sessions were long and slow, and de
Broglie found them wearisome, at one stage complaining "for the last nine days Ingres has been painting on one of the hands". She fell pregnant with her third child, was thus unable to pose further, and the 1842 painting remains unfinished.
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two years earlier, but abandoned the commission when de
Broglie became pregnant and was no longer able to pose for the long periods he required, and she had anyway found interminable and "boring". The final work is signed and dated at the lower left.
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The painting is composed of pale blue, grey, brown, gold and white hues. Mme. 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
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59:, the French monarchist politician, diplomat and writer. Highly educated, Louise de Broglie was later an essayist and biographer and published historical romance novels based on the lives of
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By 1845 Ingres' fame was at its height, and he was much in demand as a portraitist. While lucrative, he found the format distracting from, and inferior to, his main interest of
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for their "voluptuousness"; after the show he described Ingres as the quintessential painter of women, and described such portraits as the artist's highest accomplishments.
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motif of both the final painting and its predecessors is her raised left-hand index finger, coyly placed by her mouth, and her sinuous, unnaturally elongated right arm.
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Following the death of Paul-Gabriel d'Haussonville in 1924, his descendants sold the painting to offset estate taxes to art dealer
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for $ 125,000 in 1927. It has been almost continuously on public display in New York since the opening of
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Ingres
Centennial Exhibition 1867–1967: Drawings, Watercolors, and Oil Sketches from American Collections
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55:. The Princesse de Broglie, who Ingres later portrayed c. 1851–53, was married to Louise's brother
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Joséphine-Éléonore-Marie-Pauline de Galard de
Brassac de Béarn (1825–1860), Princesses de Broglie
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The painting was exhibited at the 1846 Bonne-Nouvelle exhibition alongside Ingres' 1814
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219:'s home as a museum in 1935. Unlike other works acquired directly by Frick,
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121:. At the time, he committed to only two portraits; the current work and the
127:. Today, however, it is for portraits such as these that he is best known.
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in 1889 and again in 1910; it was also circulated in photographed form.
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Preparatory drawing; graphite and white highlights on paper, 1842
450:. Greenwich, CT: Distributed by New York Graphic Society, 1967.
418:". Norton Simon Museum, August 2009. Retrieved 24 September 2017
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168:, that of the central figure reflected in a background mirror.
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Virgil reading The Aeneid before
Augustus, Livia and Octavia
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Art View: Ingres's
Portrait of a Lady is a Mirror of an Age
187:, where all three works were praised by the French poet
399:". Google Cultural Assets. Retrieved 24 September 2017
162:. Ingres reintroduces a motif first seen in his 1814
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The Ambassadors of Agamemnon in the tent of Achilles
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Critic's Notebook: Ingres' 'Comtesse d'Haussonville'
29:, 1845, 131.8 x 91cm. The Frick Collection, New York
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233:List of paintings by Jean-Auguste-Dominique Ingres
342:". Frick Collection. Retrieved 24 September 2017
39:is an 1845 oil-on-canvas painting by the French
434:Ingres and the Studio: Women, Painting, History
383:, 2 November 2009. Retrieved 24 September 2017
364:, 24 November 1985. Retrieved 24 September 2017
481:. New York: Metropolitan Museum of Art, 1999.
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436:. Pennsylvania State University Press, 2002.
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925:Luigi Cherubini and the Muse of Lyric Poetry
702:Joan of Arc at the Coronation of Charles VII
614:Don Pedro of Toledo Kissing Henry IV's Sword
901:Portrait of Madame Marcotte de Sainte-Marie
885:Portrait of Caroline Murat, Queen of Naples
1039:Portraits by Jean-Auguste-Dominique Ingres
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49:Louise de Broglie, Countess d'Haussonville
630:Henry IV Receiving the Spanish Ambassador
16:Painting by Jean-Auguste-Dominique Ingres
893:Portrait of Madame Jacques-Louis Leblanc
211:, from whom it was next acquired by the
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223:can be loaned and exhibited elsewhere.
479:Portraits by Ingres: Image of an Epoch
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397:, 1845, Jean-August-Dominique Ingres
933:Portrait of Comtesse d'Haussonville
821:Portrait of Marie-Françoise Rivière
96:Portrait of Comtesse d'Haussonville
36:Portrait of Comtesse d'Haussonville
27:Portrait of Comtesse d'Haussonville
622:Aretino and Charles V's Ambassador
477:Tinterow, Gary; Conisbee, Philip.
14:
941:Portrait of Baronne de Rothschild
837:Napoleon I on His Imperial Throne
678:The Martyrdom of Saint Symphorian
467:. London: Harry N. Abrams, 1990.
124:Portrait of Baronne de Rothschild
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135:it. Finally to crown the work,
94:First oil on canvas version of
992:Self-Portrait at Seventy-Eight
909:Portrait of Amédée de Pastoret
877:Portrait of Madame de Senonnes
654:The Dauphin's Entry Into Paris
638:The Death of Leonardo da Vinci
165:Portrait of Madame de Senonnes
1:
949:Portrait of Madame Moitessier
829:Mademoiselle Caroline Rivière
813:Portrait of Philibert Rivière
524:Jean-Auguste-Dominique Ingres
259:. Retrieved 23 September 2017
45:Jean-Auguste-Dominique Ingres
861:Portrait of Charles Marcotte
917:Portrait of Monsieur Bertin
853:Portrait of Madame Duvaucey
574:Romulus' Victory Over Acron
446:Mongan, Agnes; Naef, Hans.
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257:Metropolitan Museum of Art
965:Portrait of Madame Ingres
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957:The Princesse de Broglie
869:Portrait of Paul Lemoyne
686:The Illness of Antiochus
598:Raphael and La Fornarina
805:Bonaparte, First Consul
670:The Apotheosis of Homer
415:Comtesse d'Haussonville
395:Comtesse d'Haussonville
340:Comtesse d'Haussonville
311:Tinterow et al, 407-408
221:Comtesse d'Haussonville
730:The Half-Length Bather
646:Roger Freeing Angelica
558:Oedipus and the Sphinx
373:Knight, Christopher. "
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1000:Antwerp Self-Portrait
984:Self-Portrait Aged 24
746:La Dormeuse de Naples
662:The Vow of Louis XIII
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770:Odalisque with Slave
738:The Valpinçon Bather
284:Mongan and Naef, xxi
184:Odalisque with Slave
606:Paolo and Francesca
590:The Dream of Ossian
293:Tinterow et al, 406
209:Georges Wildenstein
566:Jupiter and Thetis
302:Tinterow et al, 40
200:and 1910, and was
189:Charles Baudelaire
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69:Margaret of Valois
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533:List of paintings
487:978-0-300-08653-9
473:978-0-300-08653-9
461:Rosenblum, Robert
442:978-0-2710-4875-8
380:Los Angeles Times
159:Madame Moitessier
57:Albert de Broglie
51:, of the wealthy
47:. The sitter was
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1003:(1864-1865)
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952:(1844–1856)
694:The Odyssey
609:(1814–1819)
143:Description
1033:Categories
762:The Source
329:Betzer, 90
320:Betzer, 65
239:References
195:Provenance
79:Commission
61:Lord Byron
824:(1805–06)
797:Portraits
542:paintings
413:Ingres's
181:and 1842
137:M. Thiers
765:(c 1820)
540:History
227:See also
202:engraved
25:Ingres,
1011:Museums
426:Sources
43:artist
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465:Ingres
456:170576
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151:Detail
98:, 1842
722:Nudes
483:ISBN
469:ISBN
452:OCLC
438:ISBN
67:and
33:The
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