Yuchen Cui
AR360 ART HISTORY
Prof. Winkler
23 April 2018
Analysis: La Princesse de Broglie by Jean Auguste Dominique Ingres
La Princesse de Broglie (English name: Princesse de Broglie) is a 47 3/4 x 35 3/4 inch
(121.3 x 90.8 cm) oil on canvas painting by the French Neoclassical artist Jean-AugusteDominique
Ingres. It was completed between 1851 and 1853 and shows Joséphine-ÉléonoreMarie-Pauline de Galard de Brassac de Béarn, known as Pauline, wife of Albert de Broglie, the
28th Prime Minister of France. The marvelous painting is covered by an overall, 157 x 125.6 cm; sight, 109.5 x 89 cm; rebate, 123 x 92.5 cm Louis XIII style Ovolo frame which made by pine, plaster ornament, gilt and pink-orange bole.
Princesse de Broglie is currently hanging …show more content…
Jean-Auguste-Dominique
Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold.
The painting is composed from grey, white, blue and yellow or gold hues. The costume and decor are painted with a supreme precision, crispness and realism. Art historian Robert
Rosenblum describes a "glassy chill", and "astonishing chromatic harmonies that, for …show more content…
For that tough process, he wrote to his friend, the art patron Charles Marcotte, that he was "killing [my] eyes on the background of the Princesse de
Broglie, 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 (his second wife) Delphine.”
Ingres has created the impression that the Princess has just laid her belongings on a chair prior to leaving the house for a soirée. This “still life” of luxuriant materials enabled the artist to expand his repertoire – adding cashmere, silk thread, velvet, leather, and ivory to the portrait’s inventory of textures and textiles. The portrait’s material detail amply describes a social milieu.
But for all the finery that accessorized the princess, we have very little understanding of the woman herself. Framing her bodice and head in the spare rectangle of the wall’s moldings, the artist preserves her privacy, idealizing her facial expression. She is, in the end, inscrutable. It is only because history reminds us of her extreme reserve that we read the portrait as we
AR360 ART HISTORY
Prof. Winkler
23 April 2018
Analysis: La Princesse de Broglie by Jean Auguste Dominique Ingres
La Princesse de Broglie (English name: Princesse de Broglie) is a 47 3/4 x 35 3/4 inch
(121.3 x 90.8 cm) oil on canvas painting by the French Neoclassical artist Jean-AugusteDominique
Ingres. It was completed between 1851 and 1853 and shows Joséphine-ÉléonoreMarie-Pauline de Galard de Brassac de Béarn, known as Pauline, wife of Albert de Broglie, the
28th Prime Minister of France. The marvelous painting is covered by an overall, 157 x 125.6 cm; sight, 109.5 x 89 cm; rebate, 123 x 92.5 cm Louis XIII style Ovolo frame which made by pine, plaster ornament, gilt and pink-orange bole.
Princesse de Broglie is currently hanging …show more content…
Jean-Auguste-Dominique
Ingres, the neo-classical French artist par excellence, painted this masterpiece toward the end of his life when his reputation as a portraitist to prominent citizens and Orléanist aristocrats had been long established. Pauline de Broglie sat for the artist’s final commission. Ingres captures the shy reserve of his subject while illuminating through seamless brushwork the material quality of her many fine attributes: her rich blue satin and lace ball gown, the gold embroidered shawl, and silk damask chair, together with finely tooled jewels of pearl, enamel, and gold.
The painting is composed from grey, white, blue and yellow or gold hues. The costume and decor are painted with a supreme precision, crispness and realism. Art historian Robert
Rosenblum describes a "glassy chill", and "astonishing chromatic harmonies that, for …show more content…
For that tough process, he wrote to his friend, the art patron Charles Marcotte, that he was "killing [my] eyes on the background of the Princesse de
Broglie, 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 (his second wife) Delphine.”
Ingres has created the impression that the Princess has just laid her belongings on a chair prior to leaving the house for a soirée. This “still life” of luxuriant materials enabled the artist to expand his repertoire – adding cashmere, silk thread, velvet, leather, and ivory to the portrait’s inventory of textures and textiles. The portrait’s material detail amply describes a social milieu.
But for all the finery that accessorized the princess, we have very little understanding of the woman herself. Framing her bodice and head in the spare rectangle of the wall’s moldings, the artist preserves her privacy, idealizing her facial expression. She is, in the end, inscrutable. It is only because history reminds us of her extreme reserve that we read the portrait as we