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741:'s portraits of women, her body seems to lack a solid bone structure. 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. Her oval face and her expression are idealised, lacking the level of detail given to other foreground elements, although she was widely known as a great beauty.
546:
436:) lived until 1901, but was heartbroken and did not remarry. He kept her portrait for the remainder of his life draped in fabric and hidden behind a velvet curtain, lending it only to select exhibitions. After his death, the painting passed within the family until 1958 when it was sold to the Metropolitan Museum of Art via the banker and art collector
840:
families. The grey wall is underlined with a barely discernible deep blue pigment. This minimalist approach reflects the "ascetic elegance" of his early female portraits, where the sitter was often set against featureless backdrops. The precisely rendered details and geometric background create an
484:
experimented with two different positions of the crossed arms. A second full-length study shows a clothed figure. Two others are focused on her hands. A highly finished drawing of the princess standing with her left hand at the neck and dressed in a simpler costume than in the painting, may be a
308:
was a highly intelligent and religious woman, who was well read and wrote a number of texts over her lifetime. 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.
405:
study, before deciding how to build the lavish costume and accessories. Although there is no surviving record of the commission, and the exact sequence of events is uncertain, the sketches can be dated from 1850, the year the style of her evening dress came into fashion.
777:
where the artist seems to trace out shapes and positions, established in the preparatory sketches, onto the grounded canvas. These include squared lines around the left shoulder and chest areas. There are lines mapping out the throat and top edge of the
518:
995:'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. Some writers detected a hint of melancholy in de Broglie's eyes and expression.
236:
undertook a number of preparatory pencil sketches for the commission, each of which captures her personality and taste. They show her in various poses, including standing, and in differently styled dresses. The final painting is considered one of
713:. Her earrings are made from cascades of small natural pearls. Her left wrist has a bracelet of roped pearls; the one on her right is made of enameled red and diamond set gold links. The necklace is held by a double looped chain holding a gold
727:
517:
583:
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has rendered in an unheard-of manner these large, veiled eyes, deprived of sight. He has given this face a negative expression that he must have seen in real life, and reproduced it with a sure touch." The majority of critics noted
772:
cm wide in yellow paint on either side of her head near the earrings. They seem to have been used to plot the positioning of the moldings. The black hat on the chair seems to have been a late addition. There are visible passages of
492:
477:
thinking through the eventual form and pose of the sitter. The earliest consists of a brief sketch of the princess in a seated pose. There is a full-length study of a nude standing in essentially the final pose, in which
545:
686:, with short sleeves and a lace and ribbon trim, highly emblematic of 1850s evening dress. Her hair is covered with a sheer frill trimmed with matching blue ribbon knots, and is swept back with a centre parting.
820:'s later portraits, the background is flat and featureless, probably to place emphasis on the coat of arms. It comprises a neutral soft pale gray and evenly textured wall, with a linear structured gilded wood
464:'s usual technique was to use sketches both to plot the final work and to provide guidance for assistants on whom he relied to paint in the less important passages. Some others have been lost or destroyed.
491:
608:
The painting's central motifs were already established in the earliest studies, in which her oval face, arched eyebrows, and habit of folding her arms with one stuffed into the opposing sleeve appear.
744:
The painting is composed of gray, white, blue, yellow and gold hues. The costume and decor are painted with a supreme precision, crispness and realism that art historians have compared to the work of
628:, which I am painting at her house, and that helps me advance a great deal; but, alas, how these portraits make me suffer, and this will surely be the last one, excepting, however, the portrait of
978:
The work was an instant critical and popular success, and widely admired and written about. Most critics understood the artfulness of physical deformations, although one writer, writing under the
1698:
1580:
Wolohojian, Stephan. "A Private
Passion: 19th-Century Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University". New York: Metropolitan Museum of Art, 2003.
273:'s portraits of women, details of the costume and setting are rendered with precision while the body seems to lack a solid bone structure. The painting is held in the collection of the
1631:
399:
began with a number of nude preparatory sketches, for which he employed professional models. He built up a picture of the sitter's underlying anatomical structure, as seen in the
208:
was 28 at the time of the painting's completion. She was highly intelligent and widely known for her beauty, but she suffered from profound shyness and the painting captures her
2170:
1666:
2165:
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in Paris, in an evening dress that implies she is about to go out for the evening. She is dressed in the height of contemporary
Parisian fashion, in particular the opulent
294:
on 18 June 1845, and they had five sons together. On the occasion of their marriage, they styled themselves 'Princesse' and 'Prince' respectively, due the former title of '
1649:
384:, which early in his career, was far less lucrative. He found acclaim in the 1840s, when he became successful enough to no longer depend on commissions. This painting was
666:
easy chair. Her head is tilted to the viewer's left, and her black hair tightly pulled back and bound by blue satin ribbons. She is pictured in the family home at 90
982:
A. de. G., and representing a minority, academic view, describes her as a "puny, wilted, sickly, woman; her thin arms rest on an armchair placed in front of her. M.
1730:
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then current in clothing, jewelry and furniture. She wears a gold embroidered evening shawl, and an off-the-shoulder, pale blue satin
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study for the painting or an independent work. Besides these five or six extant sketches, about the same number are known to be lost.
2057:
1953:
1794:
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describes a "glassy chill", and "astonishing chromatic harmonies that, for exquisite, silvery coolness, are perhaps only rivaled by
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1945:
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860:. It was produced in the United States between 1950 and 1960 (around the time the Metropolitan acquired the work) in the French
1762:
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1451:
440:, and is today held in the Lehman Wing. The family kept most of the jewelry and accessories seen in the painting, although the
1993:
1754:
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impression of immobility, though subtle movement is implied by the tilt of her head and the shimmering folds of her dress.
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913:'s possession until 1854, when it was first exhibited that December in his studio, alongside his unfinished
2116:
1846:
1830:
1810:
2100:
1778:
356:
768:, including around the contours of her hair, and the yellow chair. There are horizontal bands about 2.5
731:
Detail with lace dress trimmings, jewelry, rings, tucked hand, elongated fingers, and yellow gold chair
890:
882:
plaster frame was made in 1860 at the latest, and is thought to have been similar to the current one.
1886:
1463:
Portraits by Ingres: Image of an Epoch': Reflections, Technical
Observations, Addenda, and Corrigenda
857:
821:
708:
1878:
1706:
689:
Her adornments include a necklace, tasseled earrings and bracelets on each wrist. Her pendant with
393:
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family in
January 1850, and according to one eyewitness, "seemed to be very happy with his model".
1682:
1498:
390:'s second-last female portrait, and final society portrait. Influenced by the working methods of
1154:
Joséphine-Éléonore-Marie-Pauline de Galard de
Brassac de Béarn (1825–1860), Princesse de Broglie
614:
found the sittings difficult and agonised over every detail. He wrote to his friend and patron
1961:
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1046:
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957:... a marvelous incarnation of nobility." In general, it is held in the same high regard as
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749:
381:
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173:
149:
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380:'s chief source of income came from portraiture, it distracted from his main interest in
1598:
1153:
721:
662:
is shown in three-quarters view, her arms resting on a lavishly upholstered, pale gold
181:
1359:
Martin Davies described the background as "snobbishly bare". See Davies (1934), p. 241
856:, lined with a garland of gilt-plastered ornament flowers. Its ornaments lie on ovolo
2149:
437:
154:
112:
78:
1317:
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1609:
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was devoted to his wife, and commissioned the painting after being impressed by
209:
100:
121.3 cm × 90.9 cm (47.8 in × 35.8 in)
1461:
Hale, Charlotte; "Technical
Observations". In: Bertin, Eric; Tinterow, Gary. '
763:
679:
412:
signed and dated the final picture at the left center "J. INGRES. pit 1853".
1439:
The Robert Lehman
Collection III. Nineteenth and Twentieth-Century Paintings
757:
683:
1568:
Nineteenth- And
Twentieth-Century Paintings in The Robert Lehman Collection
756:". Her facial features are statuesque and in places display the quality of
870:'s period. It is similar to, and probably modeled on, the frame used for
471:
on paper or tracing paper. They vary in elaboration and detail, but show
468:
444:
feathers were sold to the
Costume Institute of the Metropolitan Museum.
1502:
714:
572:
243:'s finest later-period portraits of women, along with the Portraits of
979:
779:
663:
1043:
Phonétique historique du français et notions de phonétique générale
876:, which is most likely an original and is dated 1856. The original
1427:. University Park, PA: Pennsylvania State University Press, 2002.
889:
726:
355:
1246:
was to be his last female portrait. See
Wolohojian (2003), p. 206
1018:
Dictionnaire de la prononciation française dans sa norme actuelle
853:
452:
There are comparatively few extant preparatory sketches for the
1613:
1437:
Brettell, Richard; Hayes Tucker, Paul; Henderson Lee, Natalie.
467:
The extant sketches date from 1850 to 1853 and are drawn with
287:
Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn
1699:
Virgil reading The Aeneid before Augustus, Livia and Octavia
426:
published three volumes of her essays on religious history.
458:
painting compared to other of his later period portraits.
228:
lived until 1901, he was heartbroken and did not remarry.
1454:. "An Exhibition of Portraits by Ingres and His Pupils".
420:
died in 1860 aged 35 from tuberculosis. After her death,
1020:(in French) (3rd ed.). Gembloux: J. Duculot, S. A.
748:. In many ways the painting is austere; art historian
1511:. NY: Metropolitan Museum of Art Publications, 2007.
1045:(in French). Louvain-la-Neuve: Peeters. p. 102.
648:
Detail showing pearl earrings and draped pearl laced
1667:
The Ambassadors of Agamemnon in the tent of Achilles
1493:
Naef, Hans. "Eighteen Portrait Drawings by Ingres".
622:
that he was "killing eyes on the background of the
222:
in her early 30s and died in 1860 aged 35. Although
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2092:
1913:
1838:
1656:
118:
104:
96:
84:
74:
66:
52:
23:
165:. It was painted between 1851 and 1853, and shows
1542:. Manchester: Manchester University Press, 2002.
1474:Europe in the Age of Enlightenment and Revolution
953:as "refined, delicate, elegant to her finger tips
697:signifies her piety, and was perhaps designed by
1425:Ingres and the Studio: Women, Painting, History
1570:. New York: Metropolitan Museum of Art, 2009.
1556:. New York: Metropolitan Museum of Art, 1999.
1441:. New York: Metropolitan Museum of Art, 2009.
852:cm at the exterior and is made of pink-orange
1625:
930:
761:
698:
153:) is an oil-on-canvas painting by the French
8:
2042:Luigi Cherubini and the Muse of Lyric Poetry
1819:Joan of Arc at the Coronation of Charles VII
1731:Don Pedro of Toledo Kissing Henry IV's Sword
1490:. New York: Metropolitan Museum of Art, 1991
1241:
990:
983:
964:
958:
948:
947:. One critic wrote that the painting showed
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871:
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789:Coat of arms combining the heraldics of the
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706:
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667:
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609:
599:. Graphite and red chalk on paper, 27.8x17.5
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2171:Paintings in the Metropolitan Museum of Art
2018:Portrait of Madame Marcotte de Sainte-Marie
2002:Portrait of Caroline Murat, Queen of Naples
1320:, October 2009. Retrieved 23 September 2017
2166:Portraits by Jean-Auguste-Dominique Ingres
1632:
1618:
1610:
277:, New York, and is signed and dated 1853.
34:
20:
1747:Henry IV Receiving the Spanish Ambassador
16:Painting by Jean-Auguste-Dominique Ingres
2010:Portrait of Madame Jacques-Louis Leblanc
1456:The Burlington Magazine for Connoisseurs
784:
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341:around 1850 to undertake the portrait.
1554:Portraits by Ingres: Image of an Epoch
1509:Frames in the Robert Lehman Collection
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187:Pauline de Galard de Brassac de Béarn
148:
90:Pauline de Galard de Brassac de Bearn
7:
1476:. Metropolitan Museum of Art, 1987.
760:. The painting contains a number of
321:'s 1845 portrait of his sister, the
2050:Portrait of Comtesse d'Haussonville
1938:Portrait of Marie-Françoise Rivière
1739:Aretino and Charles V's Ambassador
717:, which appears to be an original
14:
2058:Portrait of Baronne de Rothschild
1954:Napoleon I on His Imperial Throne
1795:The Martyrdom of Saint Symphorian
1528:. London: Harry N. Abrams, 1990.
972:Portrait of Baronne de Rothschild
1829:
582:
544:
516:
490:
1312:Harris, Beth; Zucker, Steven. "
828:combining the heraldics of the
432:(who, in 1873, became the 28th
296:Prince of the Holy Roman Empire
2109:Self-Portrait at Seventy-Eight
2026:Portrait of Amédée de Pastoret
1994:Portrait of Madame de Senonnes
1771:The Dauphin's Entry Into Paris
1755:The Death of Leonardo da Vinci
844:The current frame measures 157
535:. Graphite on paper, 31.2x23.5
1:
2066:Portrait of Madame Moitessier
1946:Mademoiselle Caroline Rivière
1930:Portrait of Philibert Rivière
1641:Jean-Auguste-Dominique Ingres
1194:Brettell et al (2009), p. 452
1160:. Retrieved 23 September 2017
936:
920:
896:Portrait of Madame Moitessier
593:
555:
529:
506:
161:Jean-Auguste-Dominique Ingres
59:Jean-Auguste-Dominique Ingres
1978:Portrait of Charles Marcotte
1314:Ingres, Princesse de Broglie
2034:Portrait of Monsieur Bertin
1970:Portrait of Madame Duvaucey
1691:Romulus' Victory Over Acron
1467:Metropolitan Museum Journal
1410:Tinterow (1999), pp. 451–52
1041:Jean-Marie Pierret (1994).
498:Study for a Portrait of the
292:Albert, 4th Duke de Broglie
41:Portrait of Princess Albert
2192:
1540:The Study of Dress History
1458:, volume 64, no. 374, 1934
1158:Metropolitan Museum of Art
561:. Graphite on paper, 30x16
363:Albert, 4th duc de Broglie
275:Metropolitan Museum of Art
150:[lapʁɛ̃.sɛsdəbʁɔj]
109:Metropolitan Museum of Art
2082:Portrait of Madame Ingres
1827:
1647:
1497:, volume 4, no. 3, 1966.
1242:
1240:The painting of his wife
991:
984:
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949:
909:
907:The painting remained in
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89:
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33:
2074:The Princesse de Broglie
1986:Portrait of Paul Lemoyne
1803:The Illness of Antiochus
1715:Raphael and La Fornarina
1368:Tucker (2009), pp. 11–13
1294:Rosenblum (1990), p. 118
701:Fortunato Pio Castellani
434:Prime Minister of France
369:Prime Minister of France
200:Prime Minister of France
1922:Bonaparte, First Consul
1787:The Apotheosis of Homer
1401:Tinterow (1999), p. 451
1338:Rosenblum (1990), p. 37
1329:Rosenblum (1990), p. 32
1303:McConnell (1991), p. 38
1185:Tinterow (1999), p. 454
1176:Tinterow (1999), p. 452
1120:Tinterow (1999), p. 449
1076:Tinterow (1999), p. 447
966:Comtesse d'Haussonville
811:Comtesse d'Haussonville
539:cm. Private collection.
325:Comtesse d'Haussonville
247:Comtesse d'Haussonville
145:La Princesse de Broglie
1847:The Half-Length Bather
1763:Roger Freeing Angelica
1675:Oedipus and the Sphinx
1380:Newbery (2007), p. 344
1269:Marandel (1987), p. 72
965:
931:
915:
904:
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691:
676:Second Empire fashions
653:
524:
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371:
261:
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26:
2117:Antwerp Self-Portrait
2101:Self-Portrait Aged 24
1863:La Dormeuse de Naples
1779:The Vow of Louis XIII
1350:Davies (1934), p. 241
1260:Taylor (2002), p. 122
1152:Amory, Dita (2016). "
1016:Léon Warnant (1987).
893:
862:Louis XIII style
788:
730:
647:
603:cm. Location unknown.
359:
255:Baronne de Rothschild
1887:Odalisque with Slave
1855:The Valpinçon Bather
1488:Metropolitan Jewelry
1215:Tucker (2009), p. 16
1203:Tucker (2009), p. 17
1156:". Catalogue Entry.
1134:Tucker (2009), p. 11
1102:Tucker (2009), p. 13
709:Mellerio dits Meller
659:Princesse de Broglie
625:Princesse de Broglie
525:Princesse de Broglie
502:Princesse de Broglie
290:(1825–1860) married
133:Princesse de Broglie
27:Princesse de Broglie
1723:Paolo and Francesca
1707:The Dream of Ossian
1599:MET catalogue entry
1486:McConnell, Sophie.
1472:Marandel, Patrice.
1389:Naef (1966), p. 275
1278:Naef (1966), p. 276
1231:Hale (2000), p. 206
1088:Naef (1966), p. 274
824:, and a fictitious
670:rue de l'Université
448:Preparatory studies
394:Jacques-Louis David
2176:Portraits of women
1683:Jupiter and Thetis
1604:Smarthistory video
1507:Newbery, Timothy.
905:
803:
733:
654:
372:
267:. As with many of
198:, the future 28th
184:'Princesse'. Born
180:, who adopted the
169:Pauline de Broglie
2143:
2142:
1650:List of paintings
1586:978-1-5883-9076-9
1576:978-1-5883-9349-4
1562:978-0-300-08653-9
1548:978-0-7190-4065-8
1534:978-0-300-08653-9
1522:Rosenblum, Robert
1517:9-781-5883-9269-5
1482:978-0-8709-9451-7
1469:, volume 35, 2000
1447:978-1-5883-9349-4
1433:978-0-2710-4875-8
1052:978-9-0683-1608-7
1027:978-2-8011-0581-8
932:Lorenzo Bartolini
916:Madame Moitessier
873:Madame Moitessier
298:' granted to the
263:Madame Moitessier
194:Albert de Broglie
126:
125:
2183:
1903:The Turkish Bath
1895:Venus Anadyomene
1871:Grande Odalisque
1833:
1634:
1627:
1620:
1611:
1552:Tinterow, Gary.
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944:Venus Anadyomene
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924: 1844–1856
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805:Compared to the
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750:Robert Rosenblum
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618:Charles Marcotte
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2135:Musée Ingres
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220:tuberculosis
155:Neoclassical
144:
129:
128:
127:
40:
18:
2120:(1864-1865)
2077:(1851–1853)
2069:(1844–1856)
1811:The Odyssey
1726:(1814–1819)
940: 1808
928:Portrait of
807:Portrait of
640:Description
367:, the 28th
335:approached
218:contracted
210:melancholia
202:, in 1845.
172: [
2150:Categories
1879:The Source
999:References
879:de Broglie
831:de Broglie
792:de Broglie
764:pentimenti
455:de Broglie
350:de Broglie
281:Commission
97:Dimensions
45:de Broglie
1941:(1805–06)
1914:Portraits
1659:paintings
903:, London.
886:Reception
822:mouldings
758:porcelain
374:Although
122:1975.1.18
119:Accession
70:1851–1853
1882:(c 1820)
1657:History
1243:Delphine
899:, 1856.
837:de Bearn
801:families
798:de Bearn
652:feathers
632:Delphine
469:graphite
396:, Ingres
302:(1759).
105:Location
2128:Museums
1503:1552844
1417:Sources
950:Pauline
858:molding
848:× 125.6
754:Vermeer
715:pendant
650:marabou
573:Bayonne
442:marabou
417:Pauline
305:Pauline
215:Pauline
205:Pauline
157:artist
85:Subject
2112:(1858)
2104:(1806)
2085:(1859)
2061:(1848)
2053:(1845)
2045:(1842)
2037:(1832)
2029:(1826)
2021:(1826)
2013:(1823)
2005:(1814)
1997:(1814)
1989:(1811)
1981:(1810)
1973:(1807)
1965:(1806)
1957:(1806)
1949:(1806)
1933:(1805)
1925:(1804)
1906:(1863)
1898:(1848)
1890:(1842)
1874:(1814)
1866:(1809)
1858:(1808)
1850:(1807)
1822:(1854)
1814:(1850)
1806:(1840)
1798:(1834)
1790:(1827)
1782:(1824)
1774:(1821)
1766:(1819)
1758:(1818)
1750:(1817)
1742:(1815)
1734:(1814)
1718:(1813)
1710:(1813)
1702:(1812)
1694:(1812)
1686:(1811)
1678:(1808)
1670:(1801)
1584:
1574:
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1526:Ingres
1515:
1501:
1480:
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1431:
1049:
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992:Ingres
985:Ingres
980:byline
969:, and
960:Ingres
955:
935:, and
910:Ingres
867:Ingres
850:
846:
817:Ingres
780:bodice
770:
738:Ingres
682:skirt
664:damask
611:Ingres
601:
563:
537:
481:Ingres
474:Ingres
461:Ingres
429:Albert
423:Albert
409:Ingres
387:Ingres
377:Ingres
344:Ingres
338:Ingres
332:Albert
318:Ingres
312:Albert
270:Ingres
240:Ingres
233:Ingres
225:Albert
140:French
75:Medium
53:Artist
1839:Nudes
1499:JSTOR
1004:Notes
722:bulla
719:Roman
590:Study
552:Study
176:]
1582:ISBN
1572:ISBN
1558:ISBN
1544:ISBN
1530:ISBN
1513:ISBN
1478:ISBN
1443:ISBN
1429:ISBN
1047:ISBN
1022:ISBN
854:pine
834:and
795:and
684:gown
680:hoop
656:The
565:cm.
259:and
130:The
67:Year
24:The
1316:".
963:'s
926:),
705:or
636:."
329:.
2152::
1524:.
1465:.
1394:^
1373:^
1343:^
1283:^
1251:^
1220:^
1208:^
1165:^
1139:^
1125:^
1107:^
1093:^
1081:^
1061:^
975:.
937:c.
921:c.
782:.
724:.
594:c.
592:,
571:,
556:c.
554:,
530:c.
528:,
507:c.
505:,
251:,
212:.
174:fr
142::
111:,
1633:e
1626:t
1619:v
1055:.
1030:.
919:(
577:.
138:(
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