Beautiful Women in Art

NTE TS C O N .

C HAPT ER

T H E I TEENT ENT R P E I . E GH H C U Y TY

WATTEA D TH E IG T ENT II . U AN E H E H

C ENTUR Y PASTELLISTS

TH E I E TH T III . E GH T EN CEN UR Y

BOUOH ER H AR DI R E ZE , C N, G U ,

AND FRAGONAR D

’ TH E EN AND I NGs AVORITES IV. QUE K F OF TH E EIGHTEENTH CENTURY

TH E I TEENT ENT R ON V . E GH H C U Y

TH E CONTINENT AT LARGE AND

I N ENG LAND

AI NSBORO D OT ER G LISH VI. G UGH AN H EN

PORTRAIT PAINTERs OE TH E

EIGH TEENTH CENTUR Y

V H E NI NETEENTH II . OPENI NG OF T

CENTUR Y —T H E ART or TH E

FIRST EMPIR E VI CONTENTS . C HAPTER

V TH E EAR L NI NETEENTH III . Y CEN

TUR Y I N ENGLAND AND ON TH E

CONTI NENT

X T H E LATTE T F T E INE I . R PAR O H N

TEENTH CENTURY

INDEx LI T F ILLU T ATI N S O S R O S.

II VOLUME .

Princess Eliz a G ainsborough . beth W indsor Castle n land. , E g

l - Adrienne Lec reur Coype . ouv i Louvre , Par s .

’ Nattier. Henriette de Bourbon, Ducheaee d Or

léans

V M m ersailla useu .

Watteau. La Finette

Louvre , Paris .

—Woman wi a Perronneau . th Cat (pas tel)

Louvre, Paris . S d Latour. tu y Head (pastel)

ac ues Doucet Colle i J q ct on.

Boucher. Diana at the Bath

r Lou vre , Pa is .

ller . National G a y, London LIST OF I LLUSTRATIONS .

Fra on — uimar g ard . La G d

a D J cques oucet Collection . M Tocqué . arie Lecz inska

Louvre, Paris .

Lat Madame de m our. Po padour i Versa lles Museum.

n Houdo . Dian a

Louvre , Paris .

e r Mari - An ne t e L b un . e toi t

Ve rs ailles Mus eum.

Kaufmann . Portrait of Herself

Uﬂiz i lorence . , F

L B ﬁIl eader iotard . The eauti R

Ro al G alle r D res den . y y ,

e n olds Eliz abe t D uc ess ofDevonshire R y . h , h

G ains orou h M r obinson b g . a y R

W t i Richard allace Collec on.

Mrs . Siddons G ainsborough .

National G aller London . y,

m e Lad amilton Ro n y . y H

d Madame Récamier Davi .

David. Paris and Helen

Louvre, Paris . LIST OF ILLUSTRATIONS . 1x

Ma ame R c ier Gerard. d e um

Louvre , Paris . M Lawrence . rs . C uthbert m Sedel ey er Collection .

a Miss Farren L wrence .

H o Mrs . ppner. Arbuthnot

- r . Raeburn . Ms Scott Moncrieﬁ

Nati inbu r h onal Galler . y, Ed g

In res Madame Devau a g . c y

B onnat Collection.

— nna della Finestra Ross etti. La Do

Mill - The S e herdess et. h p

Madame ochon Hébert. H

W Ms Tennant atts . is

ud ad Rossetti. St y He

BEAUTIF L WOMEN IN A T U R .

C HAPTER I .

TH E C R PE EIGHTEENTH ENTU Y TY .

e which b auty, eluding the des ” otis m Of p line, depends upon

Of in the incessant play expression , the Oi tense, changeable animation the physi o nom : g y , we usually say an eighteenth t century ype . And , in fact, this type is to be met with in the deﬁnitive form Of the m OfLa b asterpiece, in the works Rosal a, L Watteau, atour, Fragonard , and others. It appears there as a vivid expression Of life ?

its in freest, most gracious, and most capri cions aspect contrasted with the lifeless

av gr ity, the paralyzing regularity, Of the art

VOL. I! l BEAUTIFUL W M IN AR O EN T.

rand s zécle . t Of the g With careless audaci y,

t D ame cm S zbz e Nair the pret y g , the Isabel

’ ' las and the Fracis chines Of the Coméa ze ' ' z talzmn e Favart , Camargo , Fel , , and Pom

adour Of p , direct the ironical smiles their red lips and the mocking glances Of their humid eyes agains t the Irises and Pheb es ofDe Troy and the academic and puffed up divinities Of the Olympias and para

C el And o . dises of yp and Mignard yet, this very charming type which seems to have been created by nature itself in the

u image Of the existing epoch a d . its social

s condition , and which artists providentially endowed with the most subtle gifts of Oh servation have succeeded in immortalizing, did not reign in absolute sovereignty dur ing the entire century . The French woman Of the eighteenth century did not ﬁ nd her highest and most synthetic expression in the pastels OfLa tour and the red chalk d rawings Of Wat THE G E C R PE EI HTE NTH ENTU Y TY . 3

. Le t m teau us say, rather, the wo an Of

OfL to ﬁ the reign ouis XV. de ne this very ﬁ French type, which was xed in perpetuity by the most national Ofthe artists Of the

- t age , a pre eminently expressive ype, caught

i r to the very l fe and histo ically placed , as

Of the charming symbol an entire epoch , and the revolutionary formula Of an e n

tirely new art, between the mythological masquerades of the Regency and the f rather inane sentimentalism o Greuze.

of For, long after the death the great

’ e d Orleans king, and while Philipp pre Of sided over the destinies France , with l é Te ncin Abb Dubois and Mme . de , the

1 Since the name ofMme . de Tencin comes under our

tic ere e ill ive a s ort io ra oft is ce le no e h , w w g h b g phy h b rated adventures s . She was s ucces s ively the mis tres s ’ f h E n lis i l mat tt Prior of D Ar ens on o t e g h d p o Ma hew , g ,

f e R e ent f Car inal D rib on - es cen in t us o th g , o d , d d g h h m t r to the valet accor in t the e x r s s io from t e as e , d g o p e n — ain - imo t n of the C evalier D s touche of S t S m he h e , by ’ a il wh eca Al m r . T i whom s he h d a ch d, o b me d e b e t h s as rn at Gr no l I 6S and ie in noted woman w bo e b e in 5, d d B U L W M ART 4 EA TIFU O EN IN .

rage for the mythological and allegorical portrait was as great as at the epoch Of the

Paris in I 749. She was the s is ter ofthe famous Cardin al

Pie rre G uerin de encin Arc is o of L ons and the T , hb h p y ,

daughter Ofa pres ident ofthe parliame nt . Whe n barely

t ent ears of a arrie a a a s e n f w y y ge, c d w y by udd acces s O

Cat olic ervor s he too the veil . oon after ar h f , k S w ds ,

o ever he r rot er the Car inal O taine her s ecular h w , b h , d , b d iz a ion and im r s r h t , h s elf p e e nted he at t e court of Louis

i m r h r i r XIV . ere her eaut and s t ll o e e w t ou t , wh b y b gh her into immediate notice . Whe n the R ege ncy was es ta lis e s h was al rea cel e rate ut her allantries b h d, e dy b d , b g ’ e xcite the is trus t of the D uc orleans it om d d d , w h wh l h f s he de s ired to p ay t e rOIe a te rwards played by Mme .

m r D u arr n ar i . de Po padou and Mme . b y e Lou s XV

B s i s ein an intri uin o rte s an Mm . e de b g g g c u , e de

n in was a oman Of muc men tal a ili n Te c w h b ty , a d s he l t s o me interes tin or s on her time ritten ou tl ef g w k , w d b es s

i the olla oration of her n e ews de Ve l w th c b ph , y e and ’ Ar ntal . The mos t curious of t s e a s or f a d ge he , t O uto ’ io ra is e ntitle Les Malk mrs dc I Amour 1 b g phy, d ( 747, 2 ” he is a oman little es e rvin Of re s ect ro S w d g p , w te

int - B euve and s ome Ofher acts even or er u on S a e , b d p

r me and et on mee tin her one is fas cinate her c i , y g d by ” kind an d be nevole nt manners . D uring the las t years of her life s he labore d s o hard to have her s candalous pas t forgotten that s he was cited

n as a model of aﬁ ab ility and goodn es s . O le aving her THE E GH H C UR PE I TEENT ENT Y TY . 5

O m of L ly pian Renaissance, which e Brun was z the splendid organi er. We quote here an animated and author itative page bearing on this interesting

n m the o Of subject, take fro b ok M . Ma

“ ri us Vachon : In the ﬁrs t part Ofthe eigh te e n th r century, du ing the Regency and Of L the beginning the reign of ouis XV. , portraiture was a veritable mythological

r the d Of masque ade . All la ies the Opera

’ ' ' ' Coméaze z talzmm who and the , set the fashion to the court and the city by their

Of r to display luxu y, ﬂocked the studio

ux ous n et of Rao . Mlle . J desired to be represented as the Diana Of Iphigenia ;

u Mlle . Quina lt posed as Amphitrite in

n cas i n it Abbe Trublit Chamf hous e on o e oc o w h , ort h r mia ilit n n rapturous ly prais e d e a b y a d co des cens ion.

What a good woman I he exclaimed . ” “ lie the Abbe if s he ante to ois on Yes , re p d ; w d p ” u ul ou tles s c oose the mil e t ru . n yo , s he wo d d b h d s d g O “ ” l in ait f is n ro n n as s h ook g at the portr o th u f cked u , e a h u s de Noaill i w s termed by t e D ches e es , it s diﬁ cult to share the oonﬁding opinion ofChamfort. B L W M ART 6 EAUTIFU O EN IN .

- Mlle . her chariot, drawn by sea horses ;

e of Pr vost as a priestess Bacchus, gar

- landed with vine branches ; Mlle . Sylvia

Of wore the buskins Thalia ; and Mlle .

n Carton chose the costume Of a aiad, which gave her the opportunity Of dis

ia playing herself almost entire nudity, thus delighting herself and also her in ” numerable admirers . Antoine Coypel repres ented Adrienne

Lecouvre ur as Cornelia, holding an urn

Of containing the ashes Pompey, and Aved portrayed Catherine de Sienne as

Dido, baring her bleeding bosom to the

. s gaze Of the public Marquises, duche ses, wives Of ﬁnancie rs and professional men disputed with actresses and dancers for a

a ac pl ce in this m aronic Olympia . Vanloo painted the Marquise de S a

’ V Of bran , the Regent s favorite, as enus

Amathus a , dressed in simple Grecian tunic, One shoulder and breast entirely

HE H R P T EIGHTEENT CENTU Y TY E . 9

bare , caressing with both hands a dove

r . . esting on a cushion Mme Boucher,

’ Of t was wife the king s secre ary, painted

Raoux v b y as a vestal irgin , placing a burning brand upon an altar. It is need l ess to state that the expression Of the face Of this portrait is little in harmony with the solemnity Of the function being performed . Later this fashion spread to the royal

1 family itself. In the Salon Of 743, the

a . spectator could dmire Mlle de Clermont, s a royal princess, as a ultana emerging

a ti r . t e from the bath , served by slaves N f represented the daughters O Louis XV .

as . Of the Elements The Duchess Parma, L ouise Elisabeth Of France, whom her father nicknamed Graille, and who had a n snub nose and a lo g, pointed chin ,

ﬁ r personi ed the Ea th , her bare elbow rest ing on a sphere and her hand buried

a f ﬂ w r The l Of in basket O o e s. symbo B L W ME IN ART I O EAUTIFU O N .

fell . Fire to Mme Henriette, in spite Of her quiet reﬁ nement ; she was rept e

sented carelessly leaning against an altar, one hand resting On a large decorated

volume.

Mme. Adelaide chose Air, and was rep resented being drawn through the sky by

a peacock. Mme. Victoire posed as

Water, a naiad bending over an urn ,

Of r beside a clump eeds.

The same artist painted Mlle . de Beau

olais . Chi teaur ux j as Diana, and Mme de o

Of as Minerva , buckling the shield her l the Brion ne . young brother, Comte de For s o many complimentary se rvices

Nattie r and kind intentions, was rewarded by the high - sounding title Of painter Of

t ra S O beau y and the pupil Of the G ces .

to title he a as live up to the , g ve to all the feminine personages Of his pictures the e ff e f u s legant coi ur s, the astidio s toilet ,

1 This i in h p cture is t e Laeaz e Gallery . TH E G CE UR T P I EI HTEENTH NT Y Y E. I

and the voluptuous aspect Of his por l r t aits. The excessive infatuation Of the ladies Of the imperial court for the artist is

“ thus explained by Casanova : When he

t i Of n painted the por ra t a plain woma ,

n r he made the resembla ce pe fect, and yet, those who saw only the portrait thought t the subject beautiful , although the mos minute examination did not reveal any inﬁdelity in the portrayal ; somethi n g im perceptible gave to the whole a real and ” indeﬁ nable be auty. When one remembers that from 1737

to I 6 r 7 3, Nattier exposed port aits reg

Moreover the in os e au ters ose it un , k g, wh d gh p d w h “ ” covere reas t and lim l n al reeds d b bs bare y co ce ed by ,

profes s e d Openly that it was a crime of les e- majes té to

clot e n ture oo mu In t is h nl n rm h a t ch . h e o y co fo ed to

the octrin s ofthe R e ent who had had ims el aint d e g , h f p e d ant rr i M b S e e as A am es e me . de P arabere loo in y d b d , k g ra l in ra f i i very g cefu the cha cter o our pr m tive mother,

clothed only in her long hair. This picture is in the Im perial Palace In Vienna. 12 B L W M IN ART EAUTIFU O EN . ularl r y at eve y salon , especially portraits

Of women , we are no longer surprised at the very considerable number Of portraits him attributed to at the present time, most Ofwhich are very mediocre specimens Of a i al facile and convent onal art. For though the artist, while painting Mme .

Chi te auroux de as Dawn, Mme. de Fla

vacourt . as Silence, Mlle de Beaujolais as Diana, and the daughters Of the king as the Elements, strove to merit his high f r ff avo s by conscientious artistic e orts,

n based upo close Observation, he aban done d himself too willingly to his de plorable facility when models Of lesser rank posed before him . Hence the monotonous uniformity Of the most Of his plump, rouged faces, which seem to bear the trade- mark Ofa picture factory, rather than the stamp of original m ity . In nearly all Of the respect for individuality is sacriﬁced to the fanciful T P I HE EIGHTEENTH CENTURY TY E . S

h the n Of conception , and, wit exceptio a fe w r types Of impe ious beauty, which as a whole represe nt the feminine type Of the Regency and the ﬁrst part Ofthe reign Of f L . O ouis XV , his portraits women remind o ne too much Of a collection Of pretty dolls with painted cheeks, large, staring

s eyes, lips lightly apart, who, ill at ease in their long embroidered corsages and their

ca to b ow ﬂowered bro des , seem ready at a

ve n or of gi signal, by the means some mechanical contrivance to draw their bows

v over their violins and their ioloncellos . The as tonishing freshnes s Ofthe faces ’ of Nattie r s women is only the very faith Of t ﬁ ful reﬂection an ar i cial reality. The w model as herself a living painting . The

r great conside ation was to wear rouge , ” but rouge which meant something . We quote the following extract from the work by the Goncourts on Tﬁe Woman o ti e E /i tem”; Centur our a f gg y , which f ir 16 B U L W M I N ART EA TIFU O EN . readers will doubtless read again with

“ ”

r . s r g eat pleasure It is nece sa y, say the

u r on a tho s, correctly informed the subject

Bachaumon t du by , Mercier, and Mme .

“ Deﬁ and , for the rouge to announce the station Of the persons who wear it ; the rouge Ofthe lady Of quality is not the rouge Of the court lady ; the rouge Of the bour ' geoz s e is neither the rouge Of the lady Of quality n or Ofthe court lady ; it is only a

Of r suspicion red, a barely pe ceptible ﬂush .

on At Versailles, the contrary, the prin

u and cesses wear it in q antities , they exact that the rouge Of women presented shall

on ac be, the day Of presentation, more c n tuated e than usual .

the In spite Of all , brilliant rouge Of the

’ Regency reddened the cheeks Of Nattie r s V L X . women, and, dying out under ouis , showed itself only on the cheeks Of ac

tresses, where it formed that glowing, con Spicuous spot which Boquet never failed

L T I 8 BEAUTIFU WOMEN IN AR .

ws to bro , which are thick and long, adds the hardness of the eyes with their wide

n Ope stare ; the glance, unsoftened by the ff lashes, mingles imperious e rontery with the dull ardor Of stubborn desire . The

n the nose is leo ine , mouth large and full

c s a lipped, and the hin doe not elong te the a oval Of the face, which is broad cross the cheekbones . Such are the beautiful thi am ine: n - Of the golde age, well fed

a W s be uties, ho e cheeks bloom with health t f un de r heir patches o bright red . They do not attract ; they fascinate by

a m a cert in ajesty Of immodesty, by their

r an ld fo d o . r ce, will , b ness A pagan se en ity holds them in s uperb repos e ; one w l e ould say that, satiated, they sti l brood d over love . The ir bearing reminds one Of Juno and Pasiphae ; and there is in these illegitimate Oﬁ s prin g Offable and Of the

an inde ﬁ nable v Regency , hea y, antique

w c a s the s grace, hi h rec ll compari ons Of TH E G C N R P I EI HTEENTH E TU Y TY E. 9

o V a H mer and irgil , m king them appear n t a Of a ur lly in the speech the time, in the

of e n mouth President H nault, calli g this

’ on e fE neid One Queen Of the , and that ’ Cleopatra stung by the asp . CHA PTER I I .

WATTEAU AND TH E EIG HTEENTH CENTURY P S LL STS A TE I .

T last, Antoine Watteau came

n upo the scene, the destined

master who, with the sharp

to point Of his crayon , was tear into shreds all the art Of the Regency, and whose

s e nervous, living per onages were sp edily to dethrone the weak and heavy divinities

Of the school OfCoype l .

Marivaux Of painting, he came to chase the solemn heroes Of the Campistrous Of

s the brush from pasteboard Olympia , and by a marvellous prodigy Of art to person ify on his own account all the giddy and t t Of elegan frivoli y the age , while ever keeping his restless and melancholy soul WATTEAU AND THE PASTELLISTS . 2 I

s t ope n to the purest a pira ions, to the most penetrating suggestions Of nature .

of An admirable colorist, one the best, perhaps the very best endowed Of the

e French school , as Opulent as Rub ns, V luminous as eronese, precise as Terburg, he gave a singular intensity of life to his personages, even in their conventional

m u t costu es , and in surro ndings at imes artiﬁcial . Far better than the Olympian person ' ages Ofthe g ran d s z écle and the Regency do the Tire is and the Clitan dres OfWat

u tea , his Harlequins and Colombines, his

ridolins and F ridolin es F , his Pantalons

Cocodrillos and his Violettes, his and his

racis chines r F , eveal to us, under the subtle

n m s te ri fantasy of their appeara ce , the y ous causes Of their eloquent mimicry and their lifelike expressions .

“ Watteau dropped from the skies Of ”

z . Of fairyland, says Paul Mant A poet 2 2 B L W M IN ART EAUTIFU O EN .

e n s romantic inv ntio , a ma ter Of elysian

r e Of ca pe spectiv s, inexhaustible creator

os prices and c tumes, he brought with him ”1 a new ideal , gave life to a world .

He did , indeed, give life to a world.

ex An uncompromising revolutionist, an a f h asper ted modern , a ter aving formed himself by contact with the art Of Louis

X IV . c , he broke the mould Of academi

formulas, and, indefatigably inquisitive

concerning life , he ever looked about

him , constantly refreshing his imagina

Of r tion at the very springs nature , car y

t he ing his acute, active Observation into

v most aried surroundings, but preferably

i r s nto the st eet, the wings Of the theatre ,

and scenes of social gatherings .

was u Of It , moreover, nder the title ' ’ ’ ‘ pet fz tre aes fetes galames that he was re ceived into the French Academy Of Paint

1 a n Wat u 1 2. P ul Man tz , A toine tea , 89 AND THE P S LLI S S 2 WATTEAU A TE T . 3 in 1 1 an d g in 7 7, this appellation, fully

ﬁ ac his justi ed by the char ter Of works, tells plainly enough the place that woman occupies in them . The woman Of Watteau diﬁ ers from

Of Co el those Nattier, yp , De Troy, Van loo i , not only by the very famil ar method

Of r als o e inte pretation , but by her asp ct f o charming impersonality. Portraits of women are extremely rare

’ Watteau s was in productions, and it with a certain anxiety that the great artist accepted the charge of pai nt ing the decorative ﬁgures Of Spring

HOtel t ( Crozat), knowing well tha the portrayal Of ﬁgures Of moderate siz e was better adapted to the precision of

n s e his crayo , and that his bru h lost som o fits nervous force in the execution Of large designs . h It is, therefore, in t ose admirable

’ c L E méar am mt our . file (14 anvases, g p 2 B L W M ART 4 EAUTIFU O EN IN .

‘ ’ ' ' C t/tére L A telzer do Gers ain t F z nette y , , , ' ’ Con vers atzon aan s a n are La Ca e L e p , g ,

1 ’ ' E n¢oar nemen r 1 de e a was the ic . L q t pou e y m p ture through which Watteau was received into the French A f A f is ictur cademy o copy o th p e, it s li t mo i cations is to b e foun in the Winter w h gh d ﬁ , d

l s i l de ers aint P a ace at B erlin, be de the famous A te ier G , and we have noticed that the ex quis ite coloring Of thes e two canvas es has s uffered no injury either from time or

rom th arm ul a li ti n f varnis as has ee n the f e h f pp ca o o h, b cas e with s ome of the mos t importan t works of the

n r h A elier do mas ter in the Louvre . I refe ence to t e t

' ’ Gerraz n t (one Of the artis t s mas terpieces ) we will s ay

t at t is rs aint ence ort imm rtal was a ort h h Ge , h f h o , w hy

icture- ealer of a cultivate min and an e nli tene p d , d d gh d

tas t a rat r rare e nome non the wa . A s tron e , h e ph , by y g

i n i et e en the arti t an the merc an aﬁ ect o ex s ted b w s d h t, and the latter left in his writings this portrait ofWatteau : Watte au was of medium build and ofdelicate con

n s titution . H e was re s tles s a d changeable in dis pos i

tion s tu or n ill unconve ntional in s irit b ut , bb n i w , p ,

ecorous in manners im atient timi col and em d , p , d, d

b arras s ed it s tran ers is cre et and res erve in w h g , d d, k d ,

b ut als o s u ercilious criti al mali i and s atirical p , c , c ous , ,

e ver is contente it ims l n l it ot ers and d d w h h e f a d a s o w h h ,

ivin i ﬁ ult e or t if c . H e tal e litt ell . H f g g w h d y k d le, b ut w loved re ading ; it was the only amus ement he s ought in

his le is ure mome nts . Alt ou une a he h gh duc ted, was a e r m s ound judg ofa wo k of erit. His dis interes tednes s

2 WATTEAU AND TH E PASTELLISTS . 7

l Ill en net V , and other little gems, ene

i n e e s t a f tes, lov cenes, rural amusements, was s o great that he was angry with me s everal times for

a n v n hi a re as ona le rice ic out of ener h vi g gi e m b p , wh h g ” os ity he re fus e d to keep . a who he s on ofa oor We will add that Watte u, was t p r - l rn i Val n i nn s ctob e r 10 168 oof s ater, was bo n e c e e , O , 4,

- - was the and died in Nogent s ur Marne in 172 1. H e mos t reﬁned painter of the e legance and grace Of his time an hi n s i as ell as his s ervices were , d s frie d h p w s ou t Ca lus Croz at ulie nne and de la R o ue . gh by y , , J , q H is father was s o well s atis ﬁed with his own honorable

s re oice trade that he wanted his s on to foll ow it. Let u j that the young man did not yield to the paternal wis hes .

The reat artis t ie at the a e oft irt - s ev n in the g d d g h y e , z e nit of his artis tic develo ment H e le t onl nine h p . f y thous an livr and a r at uantit o mira le d es , g e q y f ad b s etc es ich he b e u t to his rien s ulien n k h , wh q ea hed f d J e,

Gers aint H enin and Ab H ran r can n f aint , , be a ge , o O S ' Germain l Aux errois .

1 es e las t two ictures ems of the r at r Th p , g ﬁ s t w e ,

elon to the National Galler Of E in ur f ic b g y d b gh, o wh h ’ t e to et er it H als s Portrait of a W man h y, g h w h o , Rem ’ ’ ran t s en ric e toﬁ els and Van D ck s L b d H d kj S , y omellini

mil ar i Fa e the c e orname nts . B ut he y, h f t work of the great French artis t is als o admirably repres ented in the

E n lis coll ns n g h ectio , as we oted during our las t art trips to G re at Britain an i is r a s n i , d t pe h p u w s e to pas s a ﬁnal judgment on the mas ter before one has vis ited the won B L W M RT 28 EAUTIFU O EN IN A .

’ in which one must s eek for the artist s

feminine ideal .

x And a charming creation she is, e quis m ite in poetic truth , in ideal realis , a type

never before seen nor even suggested ,

alone which belongs to Watteau , which we may seek in vain before him an d which

For u L died with him . altho gh ancret and

Pater, pupils Of the master, were also honored by the Academy with the title ' ez ntres dos étes alan tes r f f g , and their g ace ful compositions are Often of an agreeable

co loring, it must be admitted that their feminine beauties have the appearance of bold Martons beside the arch beauties of i m the ncomparable aster.

us V one How delicio ly erlaine, in Of the derful all ries f r I a h th D u es of Wes t g e O Lo d ve g , e k mins ter and t rlan ofB aron Rot s c il and ot ers S u he d, h h d h , ’ in which Watteau s art manifes ts its elf at times in s uch

a s ur ris in mann r V r t ies of Watteau p g e . e y careful s ud

and his or ave e n ma e MM. ore P aul w k h be d by Th ,

Mantz the Goncourt rot ers an Clau e P hilli s , b h , d by d p the eminent En lis riter on art g h w . W U AND THE P S LLI S 2 ATTEA A TE TS . 9 m el s F etes alan tes ost d ightful part of his g , has evoked this modern type Ofthe eigh

te e n th in s Of century, the vivid de cription a contemporaneous vision !

Fard e et einte comme au te m s des b er erie é p p g s, Fréle armi le s noe uds normes de ru ans p é b ,

l us les ramures ass om ries E le pas se , so b ,

’ l O v rdi Ia mous s e es vie Dans allee u e t d ux bancs , ' Avec mille facons e t mille aﬁé teries

’ ’ a d r inaire aux erruches ch ries Qu on g rde o d p é . ’ l ro e a ueue e s t leue e t l eve ntail Sa ongue b q b ,

’ u e ll frois se e n s es oi ts ﬂue ts aux lar es a es Q e d g g b gu , ’ i S éga e .

n e en s omme Le nez M n on a ee a a B lo d . ig o I oo ohe ’ e rnad e rarre e! div ne d or ue l I n a o , g , i g i

' ’ e nt B ailleurs ins ne ne a m n Incons ze . p ﬁ o ! o t h .

We purposely emphasize these last lines in which the poe t has enshrined the Of i woman Watteau w th consummate art, a type s o imperiously bewitching and syn

t ha s o m thetic hat it s , to speak, i posed its elf upon the entire eighteenth century ' ' a r s its spz rz tael and g acious symbol . L W M ART 30 BEAUTIFU O EN IN .

The Goncourt brothers, as well informed on the frivolous and merry epoch as Ba

r chaumont himself, seem to have pe fectly described the woman Of Watteau when they expressed themselves as follows on

the subject Of the charming Mme . de

Rochefort , who apparently combined the

’ essential features of the great artist s fem inine ideal : Beauty is not the desire Of

Of es ticu this woman, whose mien is full g

n lation , whose glance is a provocatio , and

whose walk is a ﬂutter. Pleasure , sur

Of prise , changes impression , as the Prince L de igne says, the thousand things which ’ a u p ss thro gh the upper region of her face ,

must prevent her from being a beauty, and give her a face that is above mere 1 prettiness. Her featu res must express instantane

ous l y all her moods, thoughts, the ebb and

ﬂow Of ﬂeeting emotions, thus earning for

1 Le rince d i n ilan es . p e L g e, M g W AND TH E P S LL S S 1 ATTEAU A TE I T . 3

this woman Of the period the title Ofone

r e — in who ains, hails, lightens, thund rs,

short, runs through the whole gamut of weather ! 1 The great victory is no longer to

e n please or seduce ; it is, above all, to

i n cha n the attentio by the expression, by

a slight irregularity of feature , by a fresh

n ess, piquancy, sprightliness, giddiness, by

an d all that justiﬁes admiration love.

fs h Two small eyes, set Chinese a ion , a

turned - up nose al ways o n the scent for

’ d un ainty morsels, a pert expression ,

studied attire , a slenderness even to the

Of degree emaciation, characterize this

e reigning typ , and give to faces an inde

ﬁ n able i express on of coquetry and archness,

saucy youthfulness, and the mischievous “ ness of a spoiled child .

' 1 ‘ Caraccioli, Lettres réerl atzw s et morale: s nr !es

ma ter: da tem s Paris 1 . p , , 76 7

E mon et ules de Goncourt La F ern rne n V I d d J , a X I I . riéele. (Librairie Charpentier. ) 2 B U L W M IN ART 3 EA TIFU O EN .

e This type, so skilfully describ d and so

of u characteristic the epoch , fo nd its mas te rful and precise expres sion in the paint ings, and especially in the red chalk

r of d awings, Watteau . Still , we cannot s ay that it was exclusively impriso ne d by the rapid and nervous strokes of the mas ’ r ter s c ayon . But we m ust not look for it in the social gatherings of Pater nor the rural gallan tries OfLancret . The soubrettes and the coquettish shepherdesses Ofthese decadent peril s fna itres have nothing in their liceu tious bearing that resembles the great ’ n Watteau s - distinctio of love ladies. The femi n ine type ofPater and Lancret is as destitute Of distinction as their art

o n is of nobleness. But, the other hand ,

n t Portail, Baudoi , Gravelo , Cochin , Saint

Aubin , and Moreau the younger, learned from the painter Of the D epart pour Cy tl re m , as the latter had learned fro Gillot,

B I L W M IN ART 34 EAUT FU O EN .

Without paus ing here to seek out the

Of - r inventor pastel painting, who ce tainly

n e La s a L lived a t rior to Ro lba and atour,

l Of and even A exander Thiele Erfurt , we may ass ert that this charming method of painting was never more in vogue and never had more pe rfect masters than in the eighteenth century . Before Latour had reached the high

1 0 est point of his renown , that is , in 74 , l Carrie ra La the Venetian , Rosa Alba (

a e Rosalb ), had alr ady achieved fame in the

1 Ros a Carrie r as rn in ioz z in 16 and i s w bo Ch a 70, d e d

in i . M Ve n ce in 1757 H e r works are n umerous . os t of the m (more than a hundre d pieces ) belong to the D res l de n Mus eum. The Louvre als o pos s es s es s ome ex ce lent

as tels this cele rate artis t amon ot ers her r p by b d , g h po

rait an h ith h M n t d t e Lady w t e o key .

B es i s her rilliant as tels La R os al a le t a ver de b p , b f y in teres tin account ex e m t from all mo es t ofher vis it g , p d y, to France in 1 20 on ic o cas ion s he was receive 7 , wh h c d

lis h into the Academy ofP ainting . This was pub hed wit

’ ' ' ' the following title : D iarra deglz ann z 1720- 1721 s on tto

‘ ' da propn a mano in P an jgs da Ros alba Carriera defin triee arn s V n z i f o a ( e e a, I W AND THE P S LL S S ATTEAU A TE I T . 35

- art Of pastel painti ng . It is even said that it was one Of her pastels that revealed his

vocation to Latour.

Of r Full admi ation , says the writer

“ who n is respo sible for this anecdote , he desired to go to Venice to propose for the

e s all hand of this talented past lli t, who in Europe has balanced the reputation Ofher

chance pupil , who ended by eclipsing her. Money for this trip was lacking ; had he

o p ssessed it, his pilgrimage would have L been useless doubtless, for atour was

r Old La eighteen yea s , and Rosalba had

already seen the snows of her ﬁ fty - second year sprinkle her black Italian hair with ” 1 1 white . Although it is permissible to entertai n doubts as to the sincerity Of the matri

L Who l monial impulse of atour, cou d not have been ignorant of the relatively

1 It was at this epoch that B ergmull er painted his u f bea ti ul portrait ofLa Ros alba. B L W M A 36 EAUTIFU O EN IN RT.

Of t e advanced age Rosalba, as she was ceived into the Academy Of Beaux - Arts

1 20 Of Paris with great pomp in 7 , one can easily comp rehend the enthusiasm created in this inborn pastellis t by the

Of sight a production by the famous artis t. This enthusiasm becomes still more com prehensible when we know that the pastel ” which revealed to him his vocation was

s Of that ma terpiece freshness , brightness,

e L a F emme d licacy, and grace entitled

' an S z n e ne g , a charming ﬁgure of reﬁ ment,

“ delicacy, and grace. The delicate com plexion reminds one Of the whiteness of Saxon porcelain ; the black eyes irradiate the face ; the nose is dainty, the mouth

- small , the neck swan like. There are no decorations , no Operatic adornment ; noth ing except a bouquet at the cors age and a garland Of wild ﬂowers on the curli ng locks . In it is set forth a new style Of be auty — P E RRONNEAU. WOMA WITH A CAT A N (P STE L).

Lo uvre , Paris .

LL S S WATTEAU AND THE PASTE I T . 39

i m wh ch see s , with the little grimacing

m n to an o key she holds in her hands,

n ounce the arch , bewitching charms by ”1 which the age was to be captivated . Thus it was in the work Of a foreign artist that there appeared for the ﬁrst

Of the m tho time , perhaps, in the midst y Of logical dames the Regency, a femi

i r nine type which , by the viv d exp essive f ness of the eatures, realized , in its most

' ' s z rz taelle a p delicacy, the ide l of modern beauty.

’ La Had Rosalba s fresh , light crayons

n one m s portrayed o ly this char ing face , o

ez /z teen M- een sprightly, so animated , so jg tm - Zek e y , the delightful painter would have merited a place of honor among the great

t La pastellists of the age of pastels, wi h

Pe rron neau L r and tour, Chardin , , iota d , L undberg.

1 E m on et ules de Goncourt La m e an X V111. d d J , L M IN A 40 BEAUTIFU WO EN RT.

x It is safe to say that there never e isted, in any school Of art, not even in the Ger

Of man school the sixteenth century , a painter Of the human face and form s u l e Latour a Of p rior to . The portr its

Rousseau , Voltaire , and Diderot have the

Of s a subjective life tho e of Er smus, Thomas

r More, and Richard Southwell , and a fo ce ofmoral ex pression due to an Observation

Of s as acute as that Holbein , and to a p y chological penetration Of drawing equal to f Of O . that the master Augsburg And , more over, a miraculous and mysterious phe n ome n on Of , in spite the fragility of the m Of Memen to leoma aterial used, in spite the

’ ' gn z a pa lm! es et en pu lverem reverteres of ’ Of L t Diderot, all atour s pastels, all tha dus t in which lives the ﬂower of the eigh te e nth century, has preserved the coloring

n s Of Of ature and lo t nothing its brilliancy .

1 Maurice Quentin de Latour was born in Saint

entin i 1 ie in 1 88. Qu n 704, and d d 7

2 B L W M IN ART 4 EAUTIFU O EN . was o a s inc mpar ble , for twisting the no e s of certain Of his models or for having

placed one eye lower than the other . Despite the uncompromising sincerity which dominates all the very human work

n of the great artist, it includes ma y delight

n ful portraits of women , rendered charmi g by grace and intelligence of expres sion f r O . La as well as by pu ity lines In fact,

the n an d tour excels in femi ine portrait, the elegant and express ive force of his crayons is heighte ned by the transpare ncy

Of S allé the soft skin of Camargo, Fel , ,

Favart s R umilles , the Marqui e de , the

ss de xe . Prince e Sa , Mme de Pompadour, and others. Although the physical aspe ct Of the woman Of the eighteenth centu ry ﬁ nds its very intellige n t expre ssion in the works

Of Of se veral masters the epoch , it is in L f Of the works of atour alone , so ull

e complex signiﬁcance closely analyz d , that — LATOUR . S TU D Y EAD P ASTEL H ( ). ac ues D o uce t Coll ction J q e .

AND THE P L I WATTEAU ASTE L STS. 45 one must seek for both her moral and physical nature . One feminine ﬁgure of penetrating charm and supreme distinction stands out i prominently as a masterpiece, several t mes

of repeated , in the long succession queens,

r a e p incesses , l dies of rank , and actr sses portrayed by the great artist ; it is that

Of . . the favorite, Mme de Pompadour

r Of he r He painted many port aits , but we do not know with which o ne Of the attractive representations to associate the

’ e s s anecdote given b low, in which the arti t

’ independence ofcharacter and the model s wit are shown in such an amusing manner.

L t v of atour cour ed the fa or no one . He was b e accustomed to say, My talents m ” long to yself. He would never ﬁ nis h the po rtraits of the two sisters of the king, because they had w n r kept him aiting. Whe equested

to . paint Mme de Pompadour, he replied 6 B I L W M N I N ART 4 EAUT FU O E .

that he would not go to the city to work .

w r He was , ho ever, pe suaded to go to Ver

a a h s illes, but on condition th t he s ould w m be alone ith his odel . Upon reaching the apartments of the

r e ak e favorite , he p oce ded to m e hims lf

a e comfort bl , unfastened his shoes , garters , and l Off On col ar, took his wig, put a silk

- a skull cap, and began the portr it. Sud de n l r Re mov y the king ente ed the room .

a s s s : ing his he ddre , the arti t said You

m s am pro i ed me, mad e , that your door ” o would be cl sed .

The n e r ki g laughed at the r p oach , and

’ at an d him the artist s appearance , begged

nt n to co i ue.

“ It is imposs ible for me to obe y your ” L n ot Majesty, replied atour ; I do like to be interrupted.

e u So saying, he pick d p his wig and

o m garters, and went into an adjoining ro

e av was l e to dr ss himself. The f orite ob ig d W A D ATTEAU N THE PASTELLISTS . 47

to close her doors to every one , even the

s king, in order to induce the arti t to com

le t t p e the portrai . The productio ns Of Latour are in gre at part scattered about among the most

v L r valuable pri ate collections . The ouv e

n n ﬁ ne t a a te co tai s some por r its in p s l ,

e m among others thos of Mme. de Po pa

f L f n O . o es s dour, ouis XV , the Dauphi ,

Of L and atour himself. But if one wishes thoroughly to famil iariz e himself with the works of the wiz ar e s m s as Did rot styles the arti t, he u t

’ i - e study him at Sa nt Quentin , the paint r s

o n e the r home. It is of most wonde ful f Of art pilgrimages . The museum O the city con tains mo re than a hundred por m traits by the aster. Nothing could be more impress ive than

t as this collec ion , which contains many

s masterpieces as portrait , and in which ,

“ in the darting glances of the eyes, the 8 B T L W M IN ART 4 EAU IFU O EN . mockery which hovers around the up ” of turned corners the mouth , in the di ve rs ely shaded expressions of the various countenances , is represented , in its entirety,

t of the frivolous, witty, sensual socie y the

n eightee th century. The spi rit of their times animates all

one these faces, and yet each is a clear and profound mirror of individual senti me n ts ; and whichever picture claims the

one attention , cannot help recalling the haugh ty declaration of this mos t formida

d : ble analyst, speaking of his mo els They think I see only the features ; but I de s cend to the very depths of their souls and ” paint what I ﬁnd there .

0 B L W M IN ART 5 EAUTIFU O EN .

ﬁ n e im , varied, light, and transparent,

Of posed upon him , so to speak, a kind

was to r painting in which he ank as master. He never was deceived as to his real talent ; his ambition was to please . The representation of the woman of his time must be looked for in his love- scenes or m ythological productions . Then one dis covers, not without surprise, that the

’ ' OfL A llé orze de 1a ein ture D iane painter g p , ' an 6 az n Vén ns commandan t !es armées , or

ou r En ée t p , or those erotic composi ions destined to refresh the eyes Of the olas é old king, ever had in mind the feminine

u type of the beginning of the cent ry, which had disappeared with the orgies of the

- Palais Royal . Still , there was an impor ff tant di erence , and whether his women

n or were called Dia a Venus, they were w t al ays pret y grisettes, ﬂowered, ribboned, and very intelligently rouged . Opinions are divided as to who was B C R C RD GR R G RD. I OU HE , HA IN, EUZE , F A ONA 5

’ Boucher s favorite model . According to

was e some it his own lawful wife, the pr tty 1 Mlle . Bureau ; others claim that it was the

h dc Duc esse Chartres, and others still that

. u Of it was Mlle M rphy, the most petted

of - - the denizens the Parc aux Cerfs, whose m portrait he painted several ti es .

all alle or As the women of the artist, g

or a s ical mythologic l , godde ses or shep herdesses , have an almost uniform type of

t r h beau y , we are ve y willing to admit t at

he t y were inspired by the same model , who doubtless was Miss M urphy. m “ This odel , whom Paris called la ” r l Mo hi . petite p , was of Irish origin When

Mme . de Pompadour had resigned her self to the tas k of seeking a ne w mistress

m r for her royal aster, she had Miss Mu phy

1 Although B oucher had declared that marriage was ” not in his line he marrie in 1 and had t ree c il , d 733, h h

ren a s on who m ar ite and two d , , beca e an ch ct, daughters . 2 B L W M ART 5 EAUTIFU O EN IN . painted in a Holy Family destined for the

L z in k e c s a. oratory of the queen , Marie

She was not deceived in the result. The

to portrait appealed the king, and Bou

’ cher s model had the honor Ofopening the

door Of the Parc - aux- Cerfs for the ﬁrs t

time . Notwithstanding the high Ofﬁcial favor

enjoyed by Boucher, certain critics Of the

time, and not the least important, did not hesitate to pas s upon his art with gre at

“ ” severity. I venture to say, exclaims “ h Diderot, t at this man does not really kn ow what grace is ; I venture to say that he has never recognized truth ; I ve nture

Of to say that all ideas delicacy , honesty,

innocence, and simplicity are strangers to him ; I venture to s ay that he has not

u seen nat re for an instant, at least that

m d u nature which is a e to interest my so l , ” r and you s .

Immediately after his death , one of his R C RD GR R GO RD . BOUCHE , HA IN, EUZE, F A NA 55 contemporaries passed this cruel judgment upon him and his work : He long had m the appearance of a spectre , being a victi of the inevitable results Of a life begun t in toil and devoted o pleasure . He was

h r u gifted wit a wonde f l fecundity, hence his productions are innumerable. He

Of was called the painter the Graces, but his graces were aﬁ ected He was a very dangerous master for young people ; the piquancy and voluptuousness Of his works seduced them , and in trying to him imitate , they became detestable and

al e M n f s . ore than o e pupil of the acad emy has be en ruined by having yielded lf ” himse to this seduction .

d While, un er the powerful protection of

La u Pompado r, Boucher multiplied his erotic compositions, to the great delight of of the favorite and the corrupt court, forcing the art of painting into rapid de 6 B L W M ART 5 EAUTIFU O EN IN . cadence by the licen tiousness of his mo tives , his weak, fantastic workmanship, h and his contempt for trut . Chardin , an

Of artist rare probity, a conscientious

Observer, a vigorous, precise craftsman , labored quietly but with invincible force against this lamentable state Of ff a airs .

With irreproachable taste, he applied the wonderful resou rces Of his genius to the re presentation Of the most modest

u fﬁ s bjects , and taught the O cial painters

Of the day, who monopolized the favor Of

’ r the cou t Boucher, the favorite s painter,

Vanloo , chief painter of the king, com pared by the hyperbolical critics Ofthe day

La re n ée to Raphael and Titian by turns, g ,

u mo ne Natoire — w Doyen , y , and hat the

r of since e Observation nature, assisted by

n an understa ding, intelligent, conscientious

a workmanship, could ccomplish , in spite

f e o the unpretentious ness of the subj ct. C R C RD GR R G RD. BOU HE , HA IN , EUZE, F A ONA 5 7

Where is the true art - lover to day who would not prefer a pipe and a glass by Chardin to an Omphale by Lemoyne or a Psyche by Natoire ? And how

c n right Diderot, whom one an ot accuse of h an injustice to Greuze, was w en , in pres

’ ’ of B én édzez é s ence the , that m a terpiece

of composition and feeling, he exclaimed Chardin is as far above Greuze as heaven

is above the earth . He has no style. I

am wrong ; he has his own . But since

he has a style of his own , he should be f alse under some circumstances, and he

’ Chardin s n ever is. pictures appe ar to

n r be the very simplest, but no livi g painte ” s wn is o perfect in his o domain . ' D irect descendant of the Flemish petz ts maitres r , Chardin repeated , with more b il lianc - y and precision , the too short lived

Le tradition of the Nains, those great artists who remained s o sincere and s o n ational in the midst Of the Italian is m Of 8 B L W M N IN ART 5 EAUTIFU O E .

Lo a Poussin and rrain and the f lse , pre l n Le n tentio s art of Bru and his imitators . Not attempting to seek for truth in the shrubbery of Trianon or the hedges of

and L Marly ouveciennes, nor to apply his severe and painstak ing method to setting

the of forth elegant vices the epoch , he

' ' chose his models from the doa rgeozs ze and e ven from the lower classes . It has been justly said that Chardin eﬁ ecte d in art what others were soon to — do a . in politics, revolution He was ”2 n ofthe the pai ter Third Estate .

1 Le Naio rot ers Louis Antoine and Mat i u The b h ( , , h e )

r e n a u th clos e of th s ixtee nt cen we e born in L o , bo t e e h

r n i th two rs t in 16 the thir in 16 . tu y, a d d ed, e ﬁ 48, d 77 At the pres ent time even the biography of the brothers

v r s e not it s tandin he excelle nt or s on is e y ob cur , w h g t w k r in r s tin artis ts MM Cle inem Paul thes e ve y te e g by . ,

r ma M. m . ir le ne ount n Villot, and Cha pﬂan The ar d c y ,

in his or on the t ree rot ers cannot him Le Leu, w k h b h ,

- o r P e re His oi e éntrale des B earer Arts . R ge y , t r g

D la rave diteur. ( e g , é )

B F W M A 6 0 EAUTI UL O EN IN RT. around the personages and furnishings

of his interiors, and expressed the most mysterious workings Oftheir inner natures o n the faces Ofthe too few persons whose 1 portraits he painted .

u After Chardin comes Gre ze . Not withstanding the dithyrambic eulogies of

r Of Diderot, who was never wea y exalting

Of Crue/re eas s ée the painter the , his favor m ite artist, it must be ad itted that the

o ne descent was a great .

s Greuze, too , preferably sought subject in m co mon life . He delighted in paint ing domestic scenes . But where Chardin triumphed by the precision ofhis art and the sincerity of his Observation , Greuze

1 D il s o as s ionatel interes te in our art Lady ke , p y d ,

n r volum s G or B ee l has jus t publis h ed i fou e ( e ge , pub lis he r Lon on a ver com lete s tu ofthe Frenc art , d ) y p dy h

ee nt centur aintin s cul ture e n rav of the eight h y, p g, p , g in ar itecture e corative and in us trial art. Amon g, ch , d d g

es t os e ic the aut or Of Clau e Lorrain othe r pag , h wh h h d has devote d to Chardin are mos t re markable . B C R C RDI GR R G N RD 6 1 OU HE , HA N , EUZE, F A O A .

only succeeded in expressing, under a weak ff and a ected form , undecided appearances ﬁ and super cial sentiments , in simple con formity with the mode of the day : the perishable painting of a passing condi

tion . Chardin was the austere and sin ll cere painter of a times. He is the ” 1 a genius of simplicity. Greuze w s the graceful but very aﬁ ected painter of an

in epoch of inane sentimentality, sham

n us n s n é e uo e s ai ve t . g , and equivocal

Whatever Diderot, whom the moral paintings of Greuze cast at times into

an insupportable ecstasy, may say, the

’ ’ L A eeordée de Villa e L I n author of g , n ocence malne nren s e, L a Lecture de la

B ible L a Malediction aternelle Le Fil s , p ,

an i La Crud e eas s ée . p , , etc , is little less corrupting than the loosest mas ters of

1 m i t r i e nature i ar I put y p c u e bes d , s a d Ch din. “ I judge it b ad in the degree that nature s urpas s es it in ” eaut b y. B L W M ART 6 2 EAUTIFU O EN IN . the time ; and in trying to make vir tue lovable, he has given to the exposed

in én n es h b e bosoms of his g , wit their s eechin to g eyes, and his honest mothers

Of families, with their Opulent corsages, a satiny freshness entirely worthy of the Philis of Lancret and the Nanette of

Baudoin . Hence we must slightly distrust Diderot when he as serts that Greuze was the provi

art dential painter, the moralist in so ar de n tl y longed for, who was going to render

u va and virt e lo ble, vice odious , ridicule ” iv eﬁ ect e .

of Greuze did none all these things, and

m e s Of the oral expr s ion his personages , the reformi ng aim of his sentimental com im positions, are unable to destroy the pression of gently caressing and slightly hypocritical sensualism which exhales from them . He loved woman and knew how to

B C R C RD N GR R G RD 6 OU HE , HA I , EUZE, F A ONA . 5 m v t ake her lo able, for the feminine ype

he Crneﬁe which created , and of which the cas s ée seems to be the initial formula, is charming in every respect, in its pink and

s white freshnes , in spite of the abnormal and disquieting discord Often existing b e tween the dainty, almost infantine grace of the face and the sumptuous but har moniou s development of the ﬁgure .

the Since works of Greuze, although Wi peopled th many forms , present in real ity only a single feminine type, a blonde beauty with an arch face and an elegant

- but well developed form , we may easily believe with Diderot that the artist was W the admirer of his ife (Mlle . Babuti before m her arriage), and that the central ﬁgure of so many of his pictures was only the

“ ” lovely image of the pretty coquette who, according to some, led the artist a most unhappy life . Others claim that the

ff on o ences, which were very grave, were all

v I . oL. I 5 6 6 BEAUTIFUL WOMEN IN ART.

n the side of the husband, the wife bei g the real victim . We cannot decide the matter . It is Diderot again who presents the wife Of Greuze to us in a very piquant

“ manner : I loved her when I was young and she was Mlle . Babuti . S he was em ployed in a little bookstore on the Qu ai des Augustins, and was as pretty as a doll , as white and straight as a lily, and as red as a rose.

“ I entered the shop with a foolish ,

n . arde t, eager air I said to her

’ d L a F on taine s F aoles Ma emoiselle,

’ P e nin u tro s o . and a , if y please

H ou ere they are , monsieur ; would y like anything else ? ’

Pardon me, but ’ What book do you want ?

’ La R elz 'zens e en e/zemis e g .

r a Fie, monsieur, do you e d such shocking stuff as that ? ’

6 8 BEAUTIFUL WOMEN IN ART.

but which was in reality of great Wisdom . ” “ My dear Frago, he said, in Italy you will see the works of Michael Angelo ,

Raphael, and their imitators ; but let me tell you this in conﬁdence and as a friend

ri if you take those pe ople se ously, you are lost !

A few days later, Fragonard exclaimed The power Of Michael Angelo te rriﬁ es me l

’ Le t us rejoice both at Boucher s ad vice and the terrifying eﬁ ect of Michael Angelo on a young painter whose native originality would have quickly disap peared in a servile imitation ofthe masters f o the past .

All this did not prevent him , however, from forcing the door of the academy with a vast composition, executed in con m formity with the Ro an programme , rep resenting the love adventures of Coresus

o ra and Callirrh e, and even, like F Angel N B C R C RD G R R G RD . 6 OU HE , HA I , EUZE , F A ONA 9

s ico , but surely with less Chri tian fervor, painting a Visitation at the pious re quest Of the D ue de Grammont .

two These academic compositions, the only ones which he was guilty of produc in to g, add nothing his glory, and it is in

- his vivid decorations and his love scenes, animated by so many pretty feminine faces, that we must look for the full ﬂowering

Of s o his art, so personal , so springlike, supple, and so brilliant . m His modernis , slightly tinged with

r libe tinism , lent itself more readily to sub j ects borrowed from the erotic life of the

n a l day tha to mythologic l , historica , or religious subjects ; and , notwithstanding the excessive sensuality of his composi

- tes al tions, and the semi nudity of his ﬁ g an tes ﬁ ne u , he is, thanks to the virt osity

Of of his drawing, the exquisite charm his

ﬁ re w coloring, and the and dash hich per va s his k de wor , one of the most undis B L W M 70 EAUTIFU O EN IN ART. puted masters of French painting of the

r eighteenth centu y.

was r t L He , in eali y, like ancret, Pater,

Gravelot, Boucher, and Baudoin, the vic tim of the times quite as much as Ofhis

of temperament ; and , at the risk incurring

r the censure of mo alists , we will confess in all sincerity that we prefer such spar

- L e S acr ice de la ros e kling love scenes as if ,

’ ’ L E s ear ole tte L e S em en t d amour La p , , ’ F ine d m u r Le Ver n on ta a o ro . , , etc , to the

s t aff t s en imental , ected , and falsely vir uou

c m o positions of Greuze . Art reaches such a lofty height in these marvell ous little masterpieces that the modesty cannot be Oﬁ ended by the living repres entations of the most charming

u realities. This exq isite painter of fem inine beauty and elegance did not conﬁ ne his swift brush to portraying the coquet tish and voluptuous attitudes ofhis amor

ous x beauties . He painted some e cellent FR AG O AR D LA G UIMA N R D .

ac ue s D o uce t C o lle i J q ct o n .

B C R C RD GR Z R G RD . OU HE , HA IN , EU E, F A ONA 73

Of m La G uimard portraits wo en, that of

s n among other , a charmi g picture in which the art of the painter shines with dazzling brilliancy. If we are to believe the chroniclers of the day, however, we must not expect to ﬁ nd the portraits Of the celebrated dan s eas e s , who e favor Fragonard shared with

are n te Bru é re r J de la y and othe s, doubt

Of less, very faithful representations the m La G uimard fr odel, for was far om being

was even pretty. She plain , thin , dark ,

b ut Of pitted with smallpox ; , once queen

one the fashion , she was of those for whom ” me n would ruin themselves . Her leanness was the subject of epi grams on the part of her envious rivals . At the theatre she was called the s k ele ” Of ton the Graces, and Sophie Arnould r emarked spitefully, alluding to the long list of beneﬁ ts by which Jare nte de la e ﬁ w Bruy re pro ted, and ith which he sup B L W M IN ART 74 EAUTIFU O EN . ported his mistress : How is it that that

’ ugly little worm does n t get fat on such good feeding ? ” Since we are on the subject of La Gui m n ard , we will relate an amusi g anecdote on w beau té da the celebrated dancer, hose diaole e tormented the h art of Fragonard, who seems to have reproduced the lithe

n grace of his mistress in the elega t, airy m h ovements of all his frivolous, bewitc ing personages. Having been employed to decorate the

r salon of the dancer, F agonard adorned it

r r with her po t ait as Terpsichore, executed in the most fascinating manner possible . A quarrel afterwards taking place between ﬁ the lovers, the painter refused to nish the work, which was promptly given to another brush .

Stung to the quick, Fragonard watched for the opportunity to avenge himself.

n Finally, he fou d the apartment open and

UL W M ART 76 BEAUTIF O EN IN .

’ (her Hatel de la Chaus s ée d Antin did not cos t less than a illi n r lied t at the s um oul s i n o a m o ) , ep h w d b e uﬁ c e t t p y

- her candle s nuﬁ er. In 1789 s he marrie d Je an Etienne a a cel r t an r f h er and th D es pré ux, eb a ed d ce o t e Op a e

u or f aro ies vau evill es and url s hic a th o p d , d , b e ques w h ere ver s ucces s ful in t eir da w y h y . IV CHAPTER .

’ THE QUEENS AND R INGs FAVORITES OF

TH E EIGHTEENTH CENTURY.

N the mids t Of the innumerable represe ntations Of woman in

r - the eighteenth centu y, pre emi

of of uently the century women, those

in four pers onages stand out in relief, the

triumphant form of masterpieces . Two are of of queens and two favorites,

of ri Lecz ins k a La m those Ma e , Po padour,

r - Dubar y, and Marie Antoinette .

Toc ué La V q , tour, anloo, Belle, Mig n n th ard, Boucher, and Co stou were e u a of Lecz ins k a who su l painters Marie , did not possess brilliant beauty . She was s l mal and dark, but she possessed a cer tain grace which was not de stitute of I L W 78 BEAUT FU OMEN IN ART.

r cha m , a great natural sweetness, and a kind and benevolent disposition .

ln Without attempting, by a ﬂattering te r re tation p , to idealize the queen into beauty, these artists , with unequal art it is true, made her face the living mirror ofa tender soul and a happy disposition .

Of The agreeable, smiling pictures the young queen show plainly enough that at the time when they were painted the dark hours of complete abandonment had

all not yet come upon her. Of these L royal portraits, that by atour is by far the most remarkable . To save the

m s r model fro po ing again, it se ved Vanloo for the execution of the large h L ofﬁ cial picture whic hangs in the ouvre.

The latter painted the queen standing. L life size, while atour executed only a bust . ’ nl o s On Va o canvas, the queen is

i ree- rs v painted n th quarte iew, turned

’ THE QUEENS AND R INGS FAVORITES . 8 1

to the left before a table, upon which L XV stands a bust of ouis ., a crystal

vase ﬁlled with ﬂowers, and a crown . In on e hand she carries a fan ; in the

Of other, a sprig jasmine . A mantle of

ﬂe ur- - blue velvet, strewn with de lis and m lined with er ine , partially covers her

- ﬂo we red gown Of large brocade . The ’ picture is one of the artist s best works. In nearly all Of the portraits Of Marie

Le cz ins k a r u , the eproduction of ro ge ’ (Mme . Martin s famous rouge, doubtless)

V and as V is ery apparent, yet, oltaire tells

in r n us one of his lette s, the quee had diﬂiculty in accustomi ng herself to the

of use this adornment, for which she

always felt a certain repugnance.

As we have before remarked , borrowing

this opinion from the history of the epoch,

r Lecz ins k a ra was Ma ie united a g ce , which

not without charm , to a natural sweetness ofdisposition . Those who were nearest — VOL. 1L 6 L W A 8 2 BEAUTIFU OMEN IN RT.

” r her found her ever kind and gene ous, L s ays ebas. L Once, however, according to ebas , her kindnes s of heart was overcome by the desire for vengeance . And, in truth , one

a u can s c rcely blame the nhappy queen , whose whole ex istence was a series of

n cruel and pitiful humiliatio s.

’ ri had Marigny, the favo te s brother, been appointed superintendent Of the royal buildings and gardens, and he Often sent

a b skets of fruits and ﬂowers to the queen , which were carried by La Pompadour her self. One morning the marquise came as u sual , and her beauty had never been more dazzling. The queen was struck by it, and a pang of bitter resentment shot through her heart . To give vent to

s her feeling , she began to praise the favor f ite, extravagantly detailing the charms O her arms, her neck, her eyes, the contour

he r m r Of face, ad iring the g ace with which

8 B L W M IN ART 4 EAUTIFU O EN . with exactness this interesting historical problem P Did not all her prestige rather come from her cleverness , and the shrewd ness of her artiﬁ ces ?

La n tour, that faithful and pe etrating interpreter of nature, makes her beautiful

to and fascinating, and Boucher shows her us deliciously pretty in her ample robes

h L a B el of . le moire, garlanded wit roses B ongne tiére of Vanloo is a poem of spright lines s and freshness. Everybody knows the famous quatrain

re of Maurepas, in which , with a slight s fav triction it is true , the charms of the

orite r . r s are wittily p aised Voltai e him elf, wh w 1 o surprised her dra ing a head , dedi

1 P m a ur did not con ne ers elfmerel Mme . de o p do ﬁ h y t c ra in arts and to oun in the Sevres orcelain o en ou g g , f d g p ra i her o n e auti ul an s works . She deco ted w th w b f h d s ome of the s ervices s he had made in leer factory . She

n av n ﬁ ne s tones s ome of ic s till ex is t als o e gr ed o , wh h h c m os e leas in in the Bibliotheque National e . S e o p d p g ’ l s uc as the o ular ron eau Nous n irons l us me odies , h p p d p a is s lauriers s ont eon ts . S he als o execute s ome n bo , le p d — NAT IER . T H E .\ R IETTE D I: lsn m m D H ES S u x . UC E

e rs aille s Mus e u V m.

A ME P MP ADOUR . LATOUR . M D A D E O

Ve rs ailles Mus e u m.

’ TH S AND KIN S V S 8 E QUEEN G FA ORITE . 7

cated the following verses to her on the spot : P m ad ur t n ra n iv o p o , o c yo d in Devrait dess iner ton visage Jamais une plus belle main

’ Naurait fait nu lus l uvra e p be o g .

On the other hand, M . Jules Soury, well

Of informed on the memoirs the times, especially those of Dargenson and the L Duc de uynes, which are ﬁlled with de

n a tails concerni g the favorite , gives not ve ry ﬂattering portrait of the woman whose beauty Latour and Voltaire have

made famous.

s was Her phy iognomy mobile, ﬂeeting, elusive ; it varied with the state of her

health , the color of her gown , the hour of

etc in s it a c il is cl ums ines s ic ave een u h g , w h h d h , wh h h b p b '

lis h M. arles Bl n in Le Trts or de l cu i ed C a c a rios tl . by h ,

The Goncourt brothers have devoted a s tudy to Mme. de ’ Pom adour e n r ver un er t is title : S uite d es tarn es p , g a , d h ﬁ ’ r vt m . d P om adour d a r s les ier e g a e for M e e p , p e p r s

arties de Gna raven r da roi . p y , g B L W M ART 88 EAUTIFU O EN IN .

the day. She seemed another person in the eve ning under the light ofchandeliers than in the daytime ; in short, she had no decide d characteristics . She had been at Versailles barely two years when it was noticed that she was growing visibly thinner and losing the brilliancy of her complexion .

“ The bad condition of her lungs re quired precautions which she did not

a take ; late hours, private theatric ls, pleas u res , and occupations reduced her day by

’ S day until she became a veritable keleton , weighing only one hundred and eleven

f u pounds. Her throat was a ragile s gges tion ; the lower part of her face was sunken

r and withered, and she had the gene al

- appearance ofill health . f Of And yet, for ear losing what she ” r termed her place , she had to exe t her s elf at to please . To tain this result, she

s o to r he r re rted eve y available means. In

L 90 BEAUTIFU WOMEN IN ART.

La m not curiosity, that Po padour did pose for Boucher or La Tour when her throat was a suggestion and when the eﬁoeolat a triple van ille had made blotches on he r

s no e. Among the principal interpreters of the favorite, we must not omit to mention

n t in Guillaume Co s ou , who, his studio at

V i of ersa lles, in the midst the orangery of

HOtel the Pompadour, often painted the ruler Of the place , who was also the true ruler of France . Desirous of escaping from the ennui of

’ a tete- d- téte l royal , and a so delighted to lend the ﬁ ne elegance of her ﬁgure and the grace Of her hearing to the Dianas of

' ’ her chateaux, she Often visited the artist s studio, and very willingly exposed to his eyes the splendors ofshoulders and throat “ ” r not yet a me e suggestion , if we may judge by the effect the sight of them pro duced on the unlucky sculptor. ’ AND R GS V R 1 THE QUEEN S IN FA O ITES . 9

Ars é ne us — M . Houssaye tells and we leave to him the responsibility Of the in formation that Cous tou was violently smitten with his model . One day he even forgot himself so far as to kiss the mar quise on the neck whe n she Offered him her hand to kiss on leaving the studio. Suddenly Cous tou pressed his lips on

’ the marquise s neck, as if he had mistaken his way . ’ That is unfair, said the marquise, not without a certain emotion It ends every I f thing . f the thought O me torments

ou oe y , remember that I am the pale Ph be ;

s hall I light, but I do not warm . I

- . b have to engrave that myself Good y,

o By a singular coincidence , worthy f

La mention , Pompadour died in April

1 (April 5 , the month which had se en the death of three other very famous

of — favorites kings, Diane de Poitiers, L W M IN ART 92 BEAUTIFU O EN .

’

d Es trées . Gabrielle , and Mme de Main tenon . On the day of her funeral , a cold

blew wind in gusts, enveloping Versailles

w of in whirl inds snow. The king, who was watching the departure ofthe funeral procession from a window of the palace, remarked with a sati rical smile : The marquise will not have a pleasant ” day for her journey .

The last remark attributed to Mme . de

wit was Pompadour, whose admitted by e e v n her bitterest libellist, showed courage

a m and char ing drollery. After the curate of the Madeleine had administered extre me unction to her and m was about to depart, the arquise par tiall in a wan y rose her bed, and said, with smile “ r ou What a hur y y are in , monsieur ; wait a moment and we will go together !

one c ex s Involuntarily, ompares this pre

n m e es sio , showing such co posur in the pr

B L W M IN ART 94 EAUTIFU O EN .

she rapidly exhausted , while , with the

ﬁ s hwoman She familiarity of a , called

r H e n Mesdames Victoi e , Adelaide , and

riette : L ff by their nicknames oque, Chi e,

and Graille . At the beginning of her reign as a t courtesan , malice mingled wi h the lyric expression of her charms ; but soon poetic eulogies were free from all hints and

r disagreeable innuendoes, while painte s,

r one ao sculptors, and engrave s rivalled other in their desires to immortaliz e her

beauty. Pajou and Lemoine made admirable

busts of her. Houdon received from her his inspiration for his statue of Diana ; and

according to legend , unsupported by docu

mentary proof, however, she posed for the

r sculptor in the nude , as, a few yea s later,

d for the Comtesse de Bellegar e did David , and Pauline Borghese for Canova . One also recogniz es the features ofthe OUD O . D H N I ANA .

Lo uvre , Paris .

8 B L W M I N ART 9 EAUTIFU O EN .

r e noir ﬁ st was a small bust, in p ig and a straw hat ; in the second She was dressed

in white satin , and stood leaning against a pedestal , holding a crown . These two portraits were painted in the course of the

1 8 year 7 7. I painted the second picture

. ﬁ with the greatest care It, like the rst, was intended for the Duc de Brissac , and

I s aw it recently . The Old general had the head painted

one over, doubtless , for it is not the I

on e made ; this is rouged to the eyes, and i

Mme . Dubarry never used rouge. I dis

r own the head ; it is not mine. The est of

r the port ait is intact and well preserved .

af It has just been sold, ter the death of the general . The third portrait is in my own col f lection . I began it in the middle o

e 1 8 . Septemb r, 7 9 We could hear the

L n re cannonading at ouvecien es, and I member that the poor woman remarked ’ THE S AND GS V R S QUEEN KIN FA O ITE . 99

‘ L . r If ouis XV we e alive , things would

’ not be like this . I had painted the head and traced the

was body and arms, when I compelled to make a t rip to Paris . I hoped to be able to return and ﬁ n ish my work ; but whe n d Berthier and Foulon were assassinate , my fright was so great that my only

s o thought was to get away from France,

not I left the picture half ﬁnished . I do know how Comte Louis de Narbonne came into possession of it during my absence, but on my return to France he

s ﬁ n brought it to me, and I have ju t ished ” it 1 .

r In this last picture , a bust, Mme. Dubar y was décolleté. Her hair was drawn back from her forehead and ornamented with a wreath of ﬂowers , the ﬁtting emblem of her ephemeral power. A garland of roses

1 ' ou en e. i ee n Bi liot e u S v irs de Mm Vg Lebru . ( b h q e C ar n i r h pe t e . ) I L W M I OO BEAUTIFU O EN N ART.

S encircled her bare houlders , with beauti ff ful e ect. It is the dazzli ng incarnation of beauty

s e it lf, but a beauty about to fade ; the rep res e n tation Of in summer, almost autumn ,

S n the setting of pri g. We give below the severe but candid j udgment pas sed by Diderot on Francois l D rouais , portraitist of kings, queens , prin

s w ces es , and favorites, a painter hose mediocre talents far from justify the ex ce tion al e r p vogue he enjoyed for many y a s, due entirely, without doubt, to the social

1 ran is - nri Drouais was orn in P aris in 1 2 F co He b 7 7, and died in the s ame city in 1775 . The mus e ums of the

e rs aille os s es s diﬁ erent rtraits him Louvre and V s p po by , which are ofvalue only be caus e ofthe his toric importance

- fthe mo els . We ill mention t os e ofC arles P ili e o d w h h h pp , ’ m l ai o t ois who eca e C arl s X. ari A e e C m e d Art , b h e ; M e d d

Clotil e late r ue en of Sar inia Louis de B our on d , Q d ; b ,

V . Comte de Clermont ; the Comte de Prove nce ; Louis X ,

ain i f and D ubarry . H e als o p ted quite a ﬁ ne portra t o

La P m adour i was s old in E n lan for the s um o p , wh ch g d

of francs .

10 2 B I L W M IN ART EAUT FU O EN . than all the mythological representations ofAlle rain i s of g and the portra t Drouais .

NO and queen ever had more numerous, m ore diverse, representations than Marie

Antoinette . It may also be truly said that o n e would seek in vain in history for a m odel of royal beauty better adapted to exalt and inﬂuence the genius of artists by its youthful grace , smiling majesty, and

r haughty endu ance Of sorrow. These diffe rent aspects of the queen have been well depicted by a galaxy of

r : Vi é L t . e artis s of me it Mme g ebrun ,

’ the s Wes tmulle r queen chosen painter ; ,

K uchars k - y , Gabriel de Saint Aubin , Jani n e t lo a , Cochin , Moreau Jeune, Sauv ge ;

L e n eclerc, whose portrait of the queen ,

Le B ean graved by , is one of the most life like representatio ns of the queen at the very height of her haughty beauty ;

Dumont, who shows her to us in Greek ’ S 10 THE QUEENS AND KINGS FAVORITE . 3

e a n s an costume, gracefully l ni g again t urn decorated with the p roﬁle of Louis

an d f l e XV I . , ull of li i s and roses ; and

many others .

L a ater, when the joyous d ys of the Tri anon were succee ded by the crue l days of

n the Conciergerie , and when the bo net Of the recluse and veil Ofmourning had re

’ placed the ﬁ chu of lace and Sarrazin s

a s broc ded gowns, the queen till had her

K uchars k painters , and y and Prieur ex b in ad ibit her to us, still haughty m versity, in the so bre vestments of a w prisoner, with hair hitened , cheeks fur

r rowed , featu es drawn , and eyes burnt with tears .

And , even in the supreme hour, when she was on her way to the guillotine in the

a - t de th cart, erec and still proud , with dis h dainful lips, her hair cut s ort, her neck

h n bare, her hands tied be i d her back , David immortalized the form of the urn 104 BEAUTIFUL WOMEN IN ART. fortunate queen in a sketch of haunting m 1 realis .

u r Numero s medallions , among othe s

of of the that Duvivier, bear the features

a are queen , as well as m ny prints ; these ofan allegorical an d graceful style if they were exec uted duri ng the ﬁrst years of

a t r her reign , but are p r icula ly cruel and scathi ng when they bear a date l ate r than

1 8 6 . October , 7 9 Then the proﬁle of the queen appears

S n s a a - in the i i ter fr me of a l mp rope, or She is re presented as a harpy or a panther

with a human head , with the inscription

“ ” “ or s the Austrian harpy, the Au trian ” panther.

1 is s tc was ma e D avi who rom his Th ke h d by d , , f

collea ue ullie n’s in o s aw the lu u rious roces s ion g J w d w, g b p ﬁ le as t On it are the ollo in ords : P ortrait of p . f w g w

Marie - Antoin ette uee n of France on he r wa to the , q , y

illotin tc e D avi a s ectator of the roce s gu e, s ke h d by d, p p

i n r h in o th i iz e n es s ullie n the i e s o f om t e w d w of e c t J , w f ” ofthe repres entative Jullien .

M N I N ART 106 B EAUTIFUL WO E . himself in direct opposition with the

’ queen s mother herself, who occasionally allowed unfavorable remarks to escape

’ her on the subj ect of her daughter s beauty . We quote a passage from a let ter in which Maria Theresa indicated to the young queen the means of gaining

“ the affection of those arou n d her : It is neither by your beauty , which really

o s e d es not exi t, nor by your knowl dge (you know very well that that is but

o u n - little), that y are to gai good will , but by your kindness of heart, your candor, ” and your cons iderate attentions . It is cu rious to contrast this maternal

’ Opinion with that Of the queen s favor

m in ite painter, which confor s every par ticular with the portraits of which it seems to be the natural an d very exact commentary. “ Vi é was 1 . e It in 799, says Mme g

L of e e r n ebrun , in one her l tt rs to P i cess ’ THE S AND NG RI 1 QUEEN KI S FAVO TES . 0 7

“ K ourak in h ﬁ s a , t at I r t p inted the por

Oi u trait the q een , who was then in all f the brilliancy o her youth and beauty.

was She large , admirably formed , and m . r e not too stout Her a s w re superb, f her hands small and per ectly formed , and her feet beautiful . Her gait was the ﬁ nest of any in France ; she carried

w e her head very high , ith a qu enliness which made it easy to distinguish her when She was surrounded by her wome n of honor, and yet this majesty in nowise detracted from the sweetness and b e ne vo lence of her counte n a nce . “ ff In ﬁne, it is di icult to give one who has never see n the quee n an idea of so many graces and so much majesty united . Her features were not regular ; S he in he rited from her family the long, narrow face peculiar to the Austrians ; her eyes were not large ; their color was a pale blue, and their expression bright and I L W M N ART 108 BEAUT FU O E IN . sweet ; her nose was well shaped and pretty, and her mouth was not too large ,

r although the lips were ather full . The

. most remarkable thing about her face , w ho ever, was the brilliancy of her com

ne l plexion . I have never seen o so bri liant, and brilliant is the exact word that describes it ; her skin was so transpare n t that it took no shadow ; I could never rep resent it to suit me ; I could ﬁ nd no colors with which to reproduce its freshness and the delicate tints which belonged only to this charming face , and which I have never Seen in any other woman . ’ After these two Opinions of the queen s w beauty, expressed ith so much precision

one S s m on the ide, and so much enthu ias on the other, by two judges of undeniable

e a on o ur competenc , hesit tion part is but natural . We have reason to suppose,

f r however, that if, be ore her death , Ma ia Theresa had seen the famous portrait of

’ NS AND NG R S 1 1 1 TH E QUEE KI S FAVO ITE .

R ein e 13 la ros e the , she would have been greatly surprised at the brilliant denial given by the artist to the idea She had ex ’ l pressed concerning her daughter s beauty .

1 1 8 w . L Bet een 779 and 7 9, , Mme ebrun pai nted several portraits of the queen in unconventional attire, to be presented to friends. Many of these were subjected to severe criticism, as calumny was already

’ 1 8 h busy with the queen s name. In 7 7 S e

L s t posed for Mme . ebrun for the la t ime at the Trianon . From the study made at that time was painted the very beauti ful portrait of Marie - Antoinette and her

: ﬁ children the rst dauphin , Mme. Royale, and the Duc de Normandie . This pic

1 “ It was at this time (in 1799) that I painted the

rtra t ic re res ents her res s e in s atin ol in a po i wh h p d d , h d g h h ros e in er han d. The picture was intended for er

r t r Em e ror os e I I and he u n or ere two b o he , p J ph t q ee d d

m e f it on for Em eror f Russ ia and copies ad o : e the p o , the other for her apartments at Vers ailles and Fontaine

u i . . i rairi bleau . S o ven rs de Mme Vzgte Lebrun (L b e

Charpcnticr. ) I I 2 B L W M IN ART EAUTIFU O EN .

V ture , now in the ersailles Museum , was

a 1 88 exhibited in the S lon of 7 , where it L was brilliantly successful . ouis XV I .

r himself shared the universal admi ation , and paid the artist this candid and ﬂatte r

“ ing compliment : I do n ot know much about art, madame, but you make me love ” it . With the exception of the Comte

’ rt i L all d A o S . , Mme ebrun painted the

of a — members the roy l family, the king,

’ r queen , their children , the king s brothe , L afterwards ouis XVII I . , his mother, the

’

is . s d Arto . Comte se , and Mme Elizabeth The artist made several pretty pictures of

- n the last amed, whose benevolent face , springlike freshness, and almost rustic simplicity pleased her greatly. t The delica e, rapid , superﬁcial , very f L feminine art o Mme. ebrun was espe cially adapted to the i n te rpretation of ele

1 6 8 gance and feminine graces . Between 7

B L W M IN ART I I 4 EAUTIFU O EN .

On e of the prettiest portraits of the artist re presents her wearing a straw hat an i d holding her palette . One has d fﬁ culty in believing that this work, of such

we attenuated grace , if may use the word , and weak composition , was an imitation of one of the masterpieces of Rubens : the little rivulet escaped from the torrent.

In a private collection at Antwerp, L “ says Mme . ebrun , I saw the famous

Clea ean de oil a p p (Felt hat) , which has l tely been sold to an Englishman for a con s ide rable ﬁ e ti n s s sum . The e c ve e of this picture lies in the two lights supplied by t daylight and sunlight . The bright ligh s are from the sun ; and what I sh all term

of the shadows, for want a better word , is

n e the daylight. Perhaps o should be a painter to appreciate the execution ex hibited by Rubens. The picture delighted me so much that I painted my own por ff S e . trait, seeking the am e ect I wore a ’ THE AND S R S 1 1 QUEENS KING FAVO ITE . 5

r m st aw hat, adorned with a plu e and a wreath of wild ﬂowers, and carried a pal

at ette. When the portrait was exhibited the n e salo , I ﬂatter myself that it add d

a greatly to my reputation . The f mous Miille r engraved it ; b ut you can readily see that the shadows of an engraving would ff ” 1 destroy all the e ect of such a picture.

of L The work Mme . ebrun does not belong entirely to the eighteen th century . She painted with un ﬂagging activity until

of 0 the day her death , March 3 , It is sufﬁ cient to say that during the continu ation of her career she was ever the same m char ing artist, consistent with herself, calm and smiling in the midst of clashin g

n opinio s, political and otherwise , portray

1 h la This portra it ofMme . Lebrun as lately been p ce d in the roomofth r n s ool in th N i nal G l r e F e ch ch e at o al e y,

London . A portrait ofMme . Lebrun is al s o in the F101

ence Mus eum. 1 D eath s urpris ed her when s he was painting the por

- trait ofher nie e at th a e ofsev nt f . c , e g e y our B L M T 1 16 EAUTIFU WO EN IN AR .

ﬁ ing with her re ned brush the aristocratic , angular features of the Duchesse de Berry or the impos ing and massive visage of

Mme . S taé l a de , turb ned like a sibyl of

Domenichino , just as she had painted

those of Marie - Antoinette and Dubarry

ef b ore the Revolution .

r We will merely efer, in this place , to

of David , who , prior to the close the eigh

tee nth rﬁl century , appeared only in the e ofa powerful reformer whose revolutionary system ofms the tics was to be the source

of ne w a art, just as the Revolution , in

was one of which he the principal actors ,

was to be the cradle of a new society .

L e Occasionally, however, the painter of

es L a Mort de a S ermen t des H orae , S aer te,

’ ’ L es A moars de P aris et d H il Zne, B eli

t da m de P an me L e s arin s , L e S em en 7 , s

D em iers momen ts de L elletier L a Mort ¢ ,

de Marat v c , and other can ases of academi

I 18 B I L W M ART EAUT FU O EN IN .

wig. He is sitting at a table covered with

red velvet, writing. He is pausing in his occupation and turning towards his wife,

rf who , in an attitude of pe ect grace, rests

e on a her l ft arm his shoulder. She we rs an m i mense, curled wig, from which escape thick locks of blonde hair. Her gown is

h - of white linen, wit a grayish blue sash and

on a knot. Her right hand rests the t ble upon which her husband is writing . This summary description of the truly exquisite portrait is borrowed from the 1 notes of David himself . The portraits of Suzanne Lepe lle tie r and

Mme. Chalgrin also date from this agitated period . This last canvas is a masterpiece of color and drawing, and the profound charm emanating from the gentle , womanly face becomes still more penetrating when

1 his rtrai ic ure it reat rillianc in T po t, wh h ﬁg d w h g b y in n in 1 8 the Centennial E x pos ition ofFrench pa ti g 8 9,

nn ll . belongs to M. Etie e de Chaz e e ’ THE NS AND GS V R S 11 QUEE KIN FA O ITE . 9 one recalls the mournful and tragic story

of r s of the model , one the most inte e ting 1 victims of the Reign of Terror.

1 Am ee D uran e t us re lates th r i rama in M. ed d h é t ag c d which D avid playe d s uch an odious rOle

C al rin the arc itect of the Count of P rovence h g , h ,

had oll o e the Cou nt to B rus s els leavin his i e in f w d , g w f

P aris . An a cus ation was irecte a ain s t her and a c d d g , s earch in he r apartme n t re veale d candles s tamped with

the ciph er and arms ofher protector. Th ere was nothing

o ut ofthe or inar about this b ut at t at s torm erio d y ; h y p d,

w e n e ar las e its e l into e rocit the s li te s t s us h f h d f f y , gh

i i ir ms tan s too n incal ula l r p c ous c cu ce k o c b e p oportions .

ealous ie s atre and rivate rancor ma e us e of olitics J , h d, p d p

as a mur erous ea on d w p .

Mme C al rin was e clare a s s A a i u ect. ccus t o . h g d d p n

me ant almos t certain conde mnation. As s oon as he he ard the atal ne s Carle Ve rnet as te ne to D avi hi r f w , h d d, s f iend an d c — r e r as the ainter of Mar n o wo k , p at e joyed great inﬂue nce with the o ers of the da U n ortu na l . te he p w y f y ,

had e en ver muc s mitte n it Mme . C al rin d b y h w h h g , an s he had dis couraged his attentions ; he n ce the s pite which caus ed D avid to make a reply as worthy ofhis affected and an tiquated Republicanis m as were the Romans ofhis pic

‘ ture s : I painted B rutus an d I cannot s olicit favors of R obes pie rre ; the tribunal is jus t ; your s is te r is an aris ’ ra x m s lf in h l toc t an I s hall not e ert e er e . , d y b ha f

B in s u li ation Ve rn t at las t s e in y d t of pp c , e ucce ded

vin i m and ri i ulous s toic who a te ar mo g th s s te d c , f rw ds L W M 120 BEAUTIFU O EN IN ART.

The portrait ofEmilie Vernet by David

L v e has been in the ou re for some y ars .

The head alone is completed . The re main de r of m the body is erely sketched , standing out in relief from a blood - red background. At the beginni ng of the chapter on the nineteenth century, we shall notice the

’

r . e a d Or port aits of Mme R c mier, Mme . villiers, Mme . de Richemond , Pauline

Borghese , and others . The form of woman did not ﬁ n d bril liant interpreters solely among painters and L m sculptors (for emoyne, Ada , Falconet,

Cafﬁ e ri and Clodion Houdon , Pajou , , ,

S ri among culptors, were the worthy vals of

rs H e too th became the mos t fawning of courtie . k e n ece s sar s te s and eas il o taine the es ire avor b ut y p , y b d d d f ;

an in x c a l r uln s s h e t the or er for by e us b e fo getf e , e k p d rele as e in his r ve ral s and e n he pocket fo s e day , wh

nall remem re it i was too late . D t s came ﬁ y be d , t ea h ” uic l d th uill ine l not ait 0s e /l n ot ou . q k y, a e g c d w 7 p , ' Carle et H arace Vernet ar A médee D urande . , , p

e tz el é iteur. (H , d )

2 I L W M IN ART 1 2 BEAUT FU O EN .

oelles Merveilleus es of r V the Ca le ernet, of

Bosio, Debucourt, and J . B. Isabey, who, h m t wit majestic im odes y, exhibited the statuesque splendors of their forms draped

n n elz it ns solely with clingi g Io ian o . CHAPTE R V.

TH E EIGHTEENTH CENTURY ON THE CONTI R AND IN GL D NENT AT LA GE EN AN .

LTH OUG H the eighteenth cen tury marks one of the most glo rions epochs in the art history of n e France, in other cou tri s the artistic decadence was general This was not true

l nd in Eng a , however, in which country the Primiti ves revealed themselves with sud de n ne s s in an art of very n ation al elegance

od l and subtle comprehension of m ern ife , especially as most remarkable painters of

m . a wo en We shall speak of them l ter on . In the midst of the general decadence

a of the schools of It ly, Germany, Flan

e rs s , and Holland , some interesting arti ts staunchly held their ground ; and although B L W M IN T 2 . AR 1 4 EAUTIFU O EN . we ﬁnd little material for a study of the femini ne ﬁgure in the interes ti ng works of e Ve rhae he n e s P ter g , Cornelis Tro t,

e Ti polo , Guardi (that great painter), and

Canaletto, that is not the case with those

La a me n of the Venetian Rosalba, alre dy tion ed ; of the German A ngelica Kanif

of mann , many whose pleasing feminine

n representations, includi g those of the

n artist herself, are to be fou d in the Dres den Museum ; in the rich collections of

a h medallions in terr cotta by Nini, t at des cendant of the Pis anelli ; in those of

S e ran di L L p and of eone eoni , who, hero ically resisting the inane mannerism of the e v epoch , succeeded in pr ser ing true

u grace, often accompanied with a gen ine

e r ro acc nt of st ength , as in his beautiful p f L f e o . o ﬁl s ouis XVI , of Franklin , and

n are nte Re nié re Suza ne J de la y .

’ Nin i s Before treating of medallions, let us pause before that tender and gracious

126 B L W M N ART EAUTIFU O E IN . bodies a very ﬁne study of the character and genius of the artist. We will quote one of the most interesting episodes re

. An lated, as bearing upon our subject gellos had received an order for a picture b representing a nymph . Despairing Of e ing able to ﬁ nd a model that should equal ﬁ her ideal , she decided to sacri ce her

u innate modesty ; so, by the aid of skilf lly

n arra ged mirrors, she succeeded in repro ducing her own image . Lord Shelton surprised he r as she was engaged in copy ing the details of her own beauty, and ,

She had although produced a masterpiece , She destroyed the canvas which would henceforth be a reproach to her.

S O says the romance . But the truth compels us to state that the picture still

s did s exists, that the arti t not con ider it her duty to deliver to the ﬂames the over

v rated can as, and that if the nude form is

n o wn a faithful represe tation of her beauty, — AUF FMA . PORTR AIT F R F K NN O H E S EL .

Uﬂi z i, Flo rence .

1 0 B UL W M IN ART 3 EAUTIF O EN .

R n i r —a . e é e Mlle de la y , gem , Marie

Theré s e o ue s J q de Chaumont, Mlle .

Alco ue of a q , Empress Catherine Russi ,

- e Marie Catherine Jacquet, and Albertin de Nin e nheim. Nini made several medallion portraits of

- ao Marie Antoinette, whose features he

. in our curately represented The best,

Opinion , is the one in the collection of

Prince A . de Broglie, a bust in the antique l 1 sty e .

We now come to an artist who was indeed singular, whose entire life was an extravagantly fantastic poem , and whose

al v v whimsic , agabond humor must ha e astonished his staid countrymen , the peaceful citiz ens of Ge neva. We refer to

- E L on v Jean tienne iotard, whom a ery

1 an- B a i Nini was rn in r ino Marc Je pt s te bo U b , h, W i n 1 . his and r s 17 17 . H e d ed in P aris i 786 S ee Life o k

. M t r. M A Storelli. ame i eu by . ( , éd ) D IN N ND ! ON THE CONTINENT AN E GLA . I 3

the curious work might be written , as most incredible adve ntures could ﬁnd a place in it, and the illustrations could be

s n r s the mo t charmi g d awings, mo t of which w are now hidden a ay in musty archives . The known work ofLiotard is consider

1 20 t 1 88 able . From 7 o 7 he travelled almost constantly, traversing Holland , i Italy, Greece, Austr a, France, Constanti no le a nd l m p , and Asia Minor, pencil a bu

S in hand , imprisoning with masterly kill,

S e e with the upple , n rvous, and d licate strokes of his swift, unerring pencil, on

- s leaves scattered to day, the pea ant women of Chio, Pashas, beautiful Smyrniotes, d Roumanian embroi erers, emperors, em

u a presses, D tch serv nts, celebrated writers, fas t n hionable cour esa s, noble ladies, royal princesses, cardinals, and even the Pope . One can easily imagine the interest and value of an exposition of the hundreds of

of Lio pastels, sketches, and engravings 1 2 B L W M ART 3 EAUTIFU O EN IN .

a t rd , who was not only a talented draughts

has man , as been generally believed, but t also a good por raitist, of keen Observation

a and a marked individu l style .

This exposition , which will be made

r some day pe haps , would be a veritable f feast for lovers o art. It would also fur n is h much valuable information to histo

a of ri ns the eighteenth century, who would see spread out before them all the ﬁgures w which belong to the epoch , executed ith ‘ lifelike sincerity by this Holbein in pastel .

a For ye rs this worthy Swiss, adrift in

in Asia Minor, was the toils of Orien

talis m. He even came near marrying,

to m according the Mussulman rite, a char ing young girl named Mimica . Then , ﬁ nding that the robe and turban were

f to wonder ully becoming him , he adopted

1 This termwas applied to the artis t by Count Alga rolti one fth , o e mos t enlightened amateurs of art ofthe ei teen n gh th ce tury .

AND IN GL D 1 ON THE CONTINENT EN AN . 35 the costume of the East and ventured to

1 e appear in it in Vienna in 743, ev n at

e he the court of Maria Th resa, where was i ” known as the Turkish pa nte r . Notwithstandi ng his prolonged attack of L acute Orientalism, iotard did not entirely conﬁne himself to painting “ vestals of ” Chio and beautiful Smyrniotes . He painted with particular ethnical truth in numerable pictures of women ofthe Occi

r he dent . With equal g ace and sincerity, portrayed the haughty beauty of Maria Theresa and the dainty grace of the pretty

c Cho olate Girl of the Dresden Museum , the m heavy, obtuse visages of Swiss milk aids,

- with their heifer like eyes, and the ﬁnely

a s tirical , intelligent, and reﬂective face

’

f i . E na . o Mme . d p y This portrait of Mme ’ ‘ d Epinay is a masterpiece . It alone is

1 ’ Mlle . Tar ieu d Esclavell s was orn in 1 2 and d e b 7 5,

n 1 At the e of nineteen s h marrie he r die d i 783. ag e d ’ - us in d E ina the s on ofa rm r n ral . B in n co p y, fa e ge e e g soo L 136 BEAUTIFU WOMEN IN ART.

n se of worth a visit to the Ge eva Mu um ,

n which it is the most glorious orname t. Here we indeed see the charming and

ro intelligent friend of Grimm , the tender p tectres s She of Rousseau , for whom built the famous Hermitage in the Montmorency valley, where the great philosopher buried his chagrins and his misanthropy .

h f- In one hand she olds a hal closed book,

Le P etit P ro kéte de m is elz lroda ht ﬁ , dou

less. Her face, thin and worn from illness,

- f - melanchol r s wears a half play ul , half y exp e

Lio sion , and rests upon her other hand.

in 1 8 tard painted this portrait 75 , when the gifted woman was in Ge neva being treated

Tronchin by Dr. for persistent dyspepsia

an d other ailments .

n ne h r ort les s us an s he allie ers elf aba do d by e w h h b d, d h with Grimm and as s ociated with the mos t celebrated men

l memoirs nd lette the rea ofthe day . She has eft a rs of g t

in . e contain the is tor of her n lif es t tere s t Th y h y ow e, melan ol and so agitate d and often so ch y, the mos t curious

details concerning the famous pers onages ofher day .

1 8 B L W M IN ART 3 EAUTIFU O EN .

rar t y to my tastes. Illness and sorrow have made my naturally gay nature a serious

on e . There are evident points of resemblance

between this self- analysis and the graphic L one by iotard . Whoever wishes really to know Liotard and learn the secret of his art should study

m ra h this ad irable port it, whic is a master ful epitome of all the brilliant and solid qualities of the painter . ” t I am not sure , said Ingres, hat there ” is a ﬁ ner portrait in all Italy .

all i of Of the schools of paint ng, that England is the last to appear in the history

. no 1 2 of art It dates back farther than 7 5 , at which time the ﬁrst satires painted by William Hogarth appeared 1 but the list

1 illia o art en r r an i t r f W m H g h, g ave d pa n e o s ocial s atires was orn D ece m e r 10 16 and ied Octo er , b b , 97 , d b T is artis t cre ate a istin ctivel B ritis h r 26 , 1764 . h d d y a t, ON THE CONTINENT AND IN ENc LAND . 139 of great artists it has already produced sufﬁces to give it an honorable rank among the schools of Europe . In it shine , i w th the brightest light, such names as l D ob s on G ains b or , Hogarth, Reynolds ,

a z r intelli ent o s ervation itin ch racteri ed by humo , g b , b g

r m an a on tant re ar for trut . It has een s a cas , d c s g d h b jus tly s aid that Hogarth res e mbled Swift in irony and

D efoe in ex actnes s . The glance is be wildered at ﬁrs t by the confus ed de

ils fhis v rloa e interiors b ut soon the ive rs it of ta o o e d d , d y

x r s his rs ona s rtra e it a ﬁ ne the e p e s ion of pe ge , po y d w h , dis cernin rus recallin t at of er ur Metz u and g b h, g h T b g, ,

ar in attra ts and c ains the attention . Ch d , c h The tal ent ofthe great didactic painter and engraver was often e mployed in depicting the Vices and follies of ’ his time as in the arlot s P ro res s 2 s e ri f ix i , H g , es o s p c tures and Maria e a la Mo e his m s t r i g d , a e p ece

he als o ainte some ex celle nt ortraits his own p d p , amon ot ers t at of Wil es G arri in the rOl f g h , h k , ck e o

Ric ar II I . the e autiful Lavinia Fenton his i e his h d , b , w f , s is ter and some lifeli e and interes tin s etc es ofthe , k g k h mm n l — m co o eo e S rvan ﬁ s h o . p p , e ts , w e n , etc 1 William D o s on who was orn in 16 10 and e n b , b , di d i s r a l i Wal l 16 6 wa a ve c a e ortrait s t. o e and e 4 , y p b p p R y nolda bestowed the highes t prais e upon him. His por

r its f o n ere e s e ciall s uc l and cer a t a o w me w p y ces s fu , t in of them mi mi n for or s fVan D c of ght be s take w k o y k, L W M 140 BEAUTIFU O EN IN ART.

Nortt t ough , Romney, Morland, Opie, e,

L Law eslie, Wilkie , Newton, Raeburn,

n t rence, Crome, Constable, Bo ing on,

- Turner, Millais, Rossetti , Madox Brown,

- s Watts , Burne Jone , etc. By the close of the ﬁ rst half of the t eighteenth century, two ar ists were already

of r n the object universal admi atio , Rey nolds and Gainsborough .

L o of s ike Dobson, b th the e artists had

of been inﬂuenced by the art Van Dyck, but neither the one n or the other had bee n completely mastered by the style of the h great Fleming ; and while the former, wit

a an stonishing subtlety, drew an individ ual style from out of a most complicated

c s eclecticism, the se ond , with a ma ter fulness of marvellous Simplicity and ele

om he was the mos t noted u i ll os t wh p p l, as we as the m

lin l s u mis s ive one . In s ort his art full of no l b d y b h , , b e nes s and is tinction was not r all h n h d , e y is own ; he ce e had little pers onal inﬂuence on the des tinies of the Eng lis l h schoo .

1 2 L W M IN ART 4 BEAUTIFU O EN . c ountry house , domestic calm and dignity, had replaced the age of chivalry and gal

. La w lant adventures dies, gowned in hite t muslins, promenaded with heir rosy chil

S a dren in h dy parks, ornamented with

t s s atues and fountain . m An extre ely elegant simplicity, per meated with aristocratic pride, the serene and m Of cal beauty a great leisure class,

c n — was a ondescending dig ity, all this what Reynolds expressed to perfection in his ladies, who have the air of terrestrial goddesses. Gainsborough did the same thing with

n the same talent and more of feeli g, per haps ; he had more inspiration than Rey m olds, and there is more simplicity in his elegance. He also displays at times a sort of i n wild or gi ality, for he painted in his own way, without troubling himself with the study and reﬂection which had formed

Reynolds. AND IN L D 1 ON THE CONTINENT ENG AN . 43

Gainsborough had one supreme mis

— he was tress, Nature and entirely under her inﬂuence. All her varied manifesta tions impressed his sensibility, and for this reason he painted landscapes and rural ” 1 studies, as well as portraits .

1 0 1 2 Between 77 and 79 , Sir Joshua Reynolds exe rcised a sovereign inﬂuence

to im over art in England , due both the portance of his pictorial work and to the discourses delive red before the Royal ” ofL Academy ondon . There were ﬁfteen of these The principal subjects treated

e by the gr at artist, with a remarkable ele v ation of thought and elegance of diction , r the of s elated to teaching drawing, to ta te , n of ff the se se beauty, the di erent methods of to rO study, and the le of the imagina

1 W. B ur er I ntroduction g , (2mis toire des peintres dc ’ ' l ecole an lazire. Re nouar g d , éditeur. ) 1 os ua R e nol s was orn ul 16 1 2 in l J h y d b J y , 7 3, P ymp ton D evons ire and ie in Lon on Fe ruar 2 , h , d d d , b y 3, 1792. 1 B L W M ART 44 EAUTIFU O EN IN .

tion and sensibility in the arts. When one reads these masterful dissertations, he

n ot w the does kno which to admire most, eloquence of the critic or the art of the painter. These learned and eloquent ae sthetic developments are but the expression of the ardent, almost pathetic , pas sion of

Reynolds for his art. The genius of Rey

” “ ds nol . says M Ernest Chesneau , is a magmﬁ ce n t conquest of the will ; that of S s Gainsborough , the pontaneou blos s omin g of a ﬂower, which passes through its natural transformations and becomes ” fruit.

Nothing could be truer. Before s eeing pose in his studio all the great ladies and

m of in d fa ous actresses his time Englan , before bei ng able to boast that he had painted two generations of professional

e all the beauties, Reynolds had explor d

s of u s t e museum Europe, st dying the yl

AND I ON THE CONTINENT N ENGLAND . 147 and methods of the masters with a restless

i - the avid ty, haunted to the fever point by thought of one day becoming the founder

S combin of a chool of English painting, by ing in an original expres sion with mar vellon s Skill the dazz ling coloring ofthe

ﬁ ne Venetians, the and brilliant modelling

ri o of Van Dyck , and the myste ous chiar ’ scuro of Rembrandt. He forgot Holbein s

to drawing, which is be regretted. He succeeded in mingling and redue

was his own - th ing to a whole , which , e ’ diﬂ e re nt of an borrowings his palette ; d. although he exhibited a rather excessive curiosity concerning the past when he sacriﬁ ced pictures of Titian by rubbing

’ them to discover the diﬂ e re n t layers of 1 s till colors used by the artist, it must be acknowledged that he succeeded, espe ciall i of in v y in his portra ts women , gi ing

1 E il m e C es neau La P ein ture an laise . ntin h , g (Qua , editeur.) ART 148 BEAUTIFUL WOMEN IN .

his a n a of to person ges, in the atur lness

s the n their pose, the picture queness of

n of costumi g, the arrangements back grounds suited to the subject, which make

unex his portraits veritable pictures, by

ecte d ff of a p e ects light, a very individu l character, further accentuated by the use or the abuse of the reds and rich browns which belong to his brush alone.

In s his attempts at historical , religiou , and mythological paintings, Reynolds did not do himself justice . This professor ” of an elevated sty le , says M . Blanc , this

- pure blooded Englishman , who had learned the language of art from the Italians and

Flemings, could never escape from the expressions of individual forms sufﬁ ciently to b e able to pain t madonnas or pagan divinities . His Virgins had an English t cas of countenance, and we would seek in vain among the Greek poets and Sculp tors for analogies of character between the

VI CHA PTER .

GAINSBOROUGH AND OTHER ENGLISH POR TRAIT PAINTERS OF TH E EIGHTEENTH C N R E TU Y.

AINS BOROUG H w , says .

“ Biir e r r g , is the most natu al of all the painters of the Eng l ish school ; he is a true artist, ever studying nature and seeking the means of interpreting it truthfully. Wherever

n to was a w he happe ed be , he l ays study in accide n tal g peculiarities, combinations

eﬂ ects of of human features, and the light

Sk and shadow on the earth and y . If, when walking out, he chanced to meet an

al his individu who struck fancy, he would invent any pretext to draw him to his studio. SB R G AND R P RS I ! GAIN O OU H OTHE AINTE . 5

Rey n olds had the most profound ad miration for the art ofhis rival and also for the character of the man , although this last was very fantastic ; and from his lofty position as President of the Royal Acad

r emy, he decla ed that the talent of Gains borough had derived nothing from the academy or from the antique : He has s tudied on his own account in the great ” school of nature . This was indisputably and almost ab

l as s ol ute y true . Occ ionally one detects ce rtain an alogies between landscapes of Gainsborough and those of Rubens and

m an m Re br dt. He has the sa e genial abruptness of touch and the spon taneity ofimpressio n still every one of the land

u ue c scapes of Gainsboro gh , that tr reator of modern landscape painting, the direct progenitor of Constable and the whole

18 0 the school of 3 , bears imprint of the

n of perso ality the painter. His originality 1 2 B L W M ART 5 EAUTIFU O EN IN . is as apparent in the general style ofhis

its s work, in oft and brilliant decorative

as harmony, it is in the quality of his execution, which is healthy, full , strong, light, always his own .

e ﬁ i It may also be said , after a sup r c al

of examination of the portrait M rs. Sid d on e m ons, of his asterpieces , and those L 1 of Mary Robinson , ady Graham (this

1 The portrait ofLady G raham s hows an ex ceptional fr nes s of colorin and the reas on ofth er e ct res es h g, e p f p e rva on of the aintin ic s eems to ate rom es ti p g, wh h d f y terda is ex laine the follo in touc in anec ote y, p d by w g h g d , related to us before the picture in ques tion by S ir Charles

eminen P res i e nt of the Aca em of Fine Re id, the t d d y

Arts in Edinburgh . r at car who marrie T omas G ra am of Ma y C h t, d h h

General Lor L nedoch was the s econ B algowan ( d y ) , d r f Lor Cat cart and was remark a l eauti daughte o d h , b y b W en s he ie the rief of her us an was ful . h d d, g h b d s o great that he could not endure the s ight of the r r portrait ofthe wife he had s o te nderly loved . H e o de ed The ictur the room in which it hung to b e s ealed Up. p e l la Near the was not dis covered unti ﬁfty ye ars ter. canvas lay one of the blue s atin s lippers which Lady n in r G ains orou T is or Graham wore whe pos g fo b gh . h p

1 GAINSBOROUGH AND OTHER PAINTERS . 55

admirable portrait belongs to the National

l r of Mrs . Gal e y Edinburgh), of Sheridan ,

Tick ell . Be aufo . Mrs . , Mrs y , Mrs Mears,

- Mrs . Mac Norton , Mrs. Villebois (these four wonderful portraits form a part

the of collection of Alfred Rothschild , L L ondon) , of Nancy Parsons, ady Dun

of stanville , Georgiana, Duchess Devon shire, that the painter had by turns a leaning to Van Dyck and to the French

of e r school the eighteenth c ntu y, whose pompadou res q ue style was doubtless praised to him by his friend Gravelot . A closer examination of the supple technic of Gainsborough re ve als the fact

te that this charming pain r, who never

r m left his isle , and who, to pe fect hi self, was content with maki ng a few copies of a Van Dyck, Rembr ndt, Rubens, and

r it was li l x f r r im in t a pub c y e pose d o the ﬁ s t t e 1848. Its s ucces s was cons i era le b ut less re at er a s t an d b , g , p h p , h that ic it o taine in 18 at x i th wh h b d 57, the e pos it on of e art tre as ures ofEn l an at Manc es ter g d h . 1 6 B I L W M N IN ART 5 EAUT FU O E .

— a Watteau , th t this Rubens in minia ture was a ge nius of the same race as

he n a e t se impetuous masters, i ste d of b ing

e v e to subs r i nt their domination .

L e s ik Reynold , he excelled in the femi

a o nine portr it, alth ugh the Blue Boy, the

Woodman Surprised by a Storm , and the

Dog- Fight (in the collection of Lord Ive agh) may with reason be adjudged

s ma te rpieces . This l as t picture is most i n teresting and original ; in it the talent of Gains borough reveal s its e lf by an astonishing

n vigor of touch and of colori g. Here we are far remove d from the caressi ng and te n de r composition of feminine elegance

a of and ch rm , and from the satiny skins profess ion al be auties . In the setting of an autumnal landscape

- with its rust colored tints, two enormous dogs are ﬁghting furiously under the eyes of c s two country boys, with sunburnt fa e

1 8 B L W M ART 5 EAUTIFU O EN IN . m haps also fro Wilson , but, above all,

m in fro open nature , which his art devel

s oped o freely. m A letter from Constable, dated fro

s 1 Ea t Bergholt, 797, addressed to John

a of Thom s Smith , Keeper the Prints in the British Museum , plainly expresses the admiration felt by the younger artist for

how cons cie n the master, and also tells us tious ly the former fulﬁlled his mission of

r research for biog aphical material, making a sort of pious pilgrimage to the regions where the great painter had lived . Here is the interesting letter in part

D ear F riend S mith,

If ou re me m e r in m las I romis e y b , y t p d to write again s oon an d te ll what I could abo ut

Gains o rou h hO e ou will not think m b g . I p y e ne glige nt whe n I inform y ou that 1 have not b e e n able to learn anything of cons e q ue nce res e ctin him 1 an as s u e i n f r p g . c r y ou it s ot o the want of as k ing that I have not be e n s uc ces s ful, for 1 have talk ed with thos e who k new SB R G AND R P I ERS 1 GAIN O OU H OTHE A NT . 59

e lie ve in s wich the did not k now him. I b Ip y

s him e his value u ntil they lo t . H be longed

cal l in to a k ind o f a mus i c ub that t own , and painte d s ome o f the ir po rtraits in a picture of a choir. I heard it was in Colche s te r ; 1

r e o re c s hall e nde avo to s e it be f I o me to town ,

ch will b e s oon H e was e ne rall h whi . g y t e b utt

he om an and his wi was o he m oft c p y , g t t a fu nd of amus e me nt, as it was o fte n s natche d from ” i h a an hr n a o the room e c. h s e d d t ow b ut , t , e tc .

From this letter we learn s everal things the respectful admi ration of Constable for

of Gainsborough , the stupidity the Ips w of ich villagers, the unconventionality the m embers of the club, and the great paint

’ e r s taste for music . He played the violin tolerably well himself . He also had a

for l “ passion musica instruments . His

rs i r ave ion to sing ng, especially in pa ts, ” x was e treme, his friend Jackson tells us . He detes ted the harpsichord and the piano, and he took as much pleasure in ” ! a looking at a violin s in listening to it. L M ART 16 0 B EAUTIFU WO EN IN . His friend further informs us that the art ist would examine a violin in silence for a long time, admiring its correct proportions and the beauty of its workmanship. This veritable worship of instruments manifested itself frequently in the artist’s

correspondence . In a letter to Jackson he enthusiastically states that he has b e gun to understand modulation and the use

of : ou ﬂats and sharps When we meet, y ” shall hear me improvise . In this same letter he declares that he is tired of por traits and would like to take his Viol di gamba and go to some quiet Village where he could paint landscapes and pass his f last days in peace and quietness. A ter him lamenting his fate, which kept in the harness while others rode in their car

ria es and g , contemplating the blue skies green trees at their ease without half his

“ a It t ste for them , he says in conclusion is devilis h hard ! My only consolation is

16 2 B L W M ART EAUTIFU O EN IN .

To support his Opinions, he relates sev

a n er l a ecdotes, one of the most amusing ’ w of which we give belo , as an illustration

’ of the artist s instrumental monomania : Happening at one time to see a theorbo

’ of D ck s in a picture Van y , Gainsborough

concluded, because, perhaps, it was ﬁnely

s ﬁ ne in s tru painted, the theorbo mu t be a

ment. He recollected having heard ofa

as German professor, and, cending to his

on garret, found him dining roasted apples

and smoking his pipe , with his theorbo

beside him . ‘ I am come to buy your lute name

’ ’

s . your price , and here your money

’ I cannot sell my lute .

NO u two , not for a g inea or ; but you

’ must sell it, I tell you . My lute is worth much money ; it is ’ worth ten guineas .

’ ’ A a ! s . y, th t it is See, here the money

n So saying, he took up the i strument, B R AND R P 16 GAI NS O OUGH OTHE AINTERS . 3

n c w d laid dow the pri e, went half ay own

and . the stairs, returned I have done but half my errand ; what is your lute worth if I have n ’t your book

k Gains bor What boo , mein Herr ough P

o of Why, the bo k airs you have com

’ posed for the lute .

“ ‘ Sir t Ah, , I can never part wi h my

’ b ook l Pooh ! you can make another at any k ’ . s time This is the boo I mean . There te n s o guineas for it ; , once more , good day !

fe w re He went down a steps, and turn ed again .

’ What use is the book to me if I don t ? understand it And your lute, you may

’ take it again if you won t teach me to play on it . Come home with me and give ﬁ ’ me the rst lesson . E I I 16 4 B AUT FUL WOMEN N ART.

’

- I will come to morrow.

’ You must come now. ’ I must dress myse lf. For what ? Y o u are the best ﬁgure I ’ - have seen to day .

’

Sh v . I must a e, sir I honor your beard

’ s But I mu t put on my wig. Damn your wig ! Your cap and heard

D O ou if become you . y think Van Dyck

’ a d S e ? was to p int you, he let you be hav d “ In this manner he frittered away his m usical talents , and though possessed of

a li ear, taste, and genius, he never had pp cation enough to learn his notes. He scorned to take the ﬁrst step ; the second

out a was of course of his re ch , and the ” summit became unattainable . In consideration of the very narrow limit within which we mus t kee p our vast

t our study, we have perhaps forgo ten selves in our too lengthy digre ss ions upon

W M N ART 16 6 B EAUTIFUL O E IN .

its delicate coloring, the exquisite grace of its pose , the sometimes slightly waver ing largeness of its composition . His art is more objective and less complicated than that of Reynolds, but it is certainly more natural and impulsive .

artiﬁ ces Without recourse to any , with out r any mechanical tricke y, the great artist contented himself with simply de manding of nature , ever generous to those who know and love her, the picturesque elements of his art . She responded with h a magniﬁcent prodigality , for t ere is no

’ painter s work, no school of painting in

r which beauty, g ace , and feminine elegance are rendered with a more divinely fas cin ating expression than in the work of

Gainsborough .

Let \V m n us listen to Sir alter Ar stro g, the best- informed biographer of the great

English master. The instinctive tech nic of the painter was never described G SB R G AND R P RS 1 AIN O OU H OTHE AINTE . 6 7 w ith more exactness, the luminous mys fery of his art was never more clearly set forth , than by this sympathetic writer .

“ n s a With Rey old , deliber tion counted

’ for much ; Gainsborough s good thi ngs t are impromptus . We migh almost say

e . that when he deliberat d , he was lost A sympathetic sitter seems to have had power at once to evoke a creation from his

. i ll . T ck e brain . In his Mrs Siddons, Mrs ,

L L fﬁ L Mul ady Graham , ady She eld , ady

Be aufo L grave, Mrs. y, ord Archibald

of r Campbell , and a host othe s , there is no Sign of preparation . The conception as we see it is the conception as it ﬁrst t ’ Offered itself o Gainsborough s mind . Beauty and a s the tic unity developed u n der

s his brush with an unequalled supplenes .

of r His art, compared to that othe

to painters , is what conversation is litera ture. It is vital , spontaneous, and, within T of o . he the limits the m del, unexpected B L W M ART 16 8 EAUTIFU O EN IN . gre at artist painted as a conversationalist of the ﬁ rst rank talks . His brain was

ﬁlled with the conception of his subject, and his ﬁ ngers did the rest. The strokes of his brush were hardly due to separate

w rd volitions . They were like the o s of the conversation alist ; they came spon tane ous l y, by an instinctive obedience to the creative impulse. Appropriate

r n colo s, ever muddy or ﬂat, ﬂowed from his brush ; correct lines succeeded one

h was o anot er ; an exquisite texture f rmed , following the inevitable model , and the picture emerged from his brain exulting ”

s o . with joy, to speak We must not expect from Gainsborough f the interpretation O profound life . His l facile and brilliant brush , near y always

a carried aw y in sweeping movement, full of natural ease, lacked the patient preci

of sion that of Holbein and Clouet, and his rapid sweep was especially adapted to

1 B L W M IN ART 70 EAUTIFU O EN .

a t W to par ble originali y, and ithout analogy any work of the same kind by the hand of 1 i e m s e . the artist, s an indisputabl a terpi ce

1 S ara em le Mrs . Si ons one of the mos t h K b ( dd ) , ce le rate tra tdzennes of En l an was orn in B recon b d g g d, b ,

Wales in 1 and i in L S out e on on un 1 1. h , 755, d d d , J e 8, 83 S he was the daughter ofthe actor R oge r Kemble an d the s r n P i i is te ofJoh and h l p Ke mble . S he receive d a bril ma liant ra tic education and il n m rri Mr. d , wh e you g a ed

i ns an actor in the com an of i h r at er as S ddo , p y wh ch e f h w manager. Immediately afterwards s he began her s tage care er in earnes t. I n 1775 G arrick e ngaged her to play with him in Lon don in the D rur Lan e e atre She a e are in the , y Th . pp d

t al ofPortia and was onl mo eratel s ucces s ul . Five e , y d y f

ears later a ter la in almos t cons tantl in the lar e y , f p y g y g ities of En lan s he was ac n owled e to b e the rs t c g d, k g d ﬁ ' tragedienne in E ngland ; the chief the atres of London vied with one another in their eﬁ orts to s e cure her s er

lm h r ice s il the u lic ove r e e e it avors . v , wh e p b wh d w h f

r ith a ma ni cent ers on Mrs . i Togethe w g ﬁ p , S ddons

s s s s a ma es tic earin e xtre mel mo ile a re po e ed j b g, y b fe tu s , and a gl ance full of ex pres s ion and ﬁ re ; her voice was mus ical and s onorous and not a or t at she s o w , w d h p ke as

n m tter how low her tone a rare ual it . los t, o a , q y One ofher importan t rOles was that of Katherine of Ma Ara on b ut her mas ter iece was La c et . In g , p dy b h he s inimita le no one has ever ex cell e her in this , s wa b ; d

l - n . is eat a tres s who the s eep walking sce e Th gr c , was a . G AINS BOROUG H M s S ID D ON S .

o nal G ll r Lo ndo n . Nati a e y,

1 BEAUTIFUL W M IN ART 74 O EN . sage and close - ﬁ tting sle eves are ofwhite silk , striped with blue , and the skirt is of

a f the same materi l and color. Fichus o blue silk and gauz e cross over he r bosom and tie at her waist, from which hangs a bow ofblue ribbon . Around her left arm

s aﬁ ron - e is wound a colored scarf, border d

m ff A r n with fur like that of her u . c imso

r a cu tain forms the b ckground , as in some pictures of Rubens and Van Dyck .

ﬁ r The pro le, d awn boldly and clearly, poss esses a certain sibylline and fatally pas sion ate appearance . The great tragi

’ dzm n e who e r of , int rp eted the passions

e e others with so much forc and s nsibility ,

fl own t and who e t her so keenly, is bet er portrayed in this simple picture than in he r allegorical portraits as the Tragic M us e or under the disguise of theatrical ” cos tumes . Biirge r also alludes to the diﬁ e re n t re p res e n tation s made by Reynolds and Law B ND R P I R 1 GAI NS OROUGH A OTHE A NTE S . 75

renc e of this tragic beauty who found as ferven t interpreters among the artists of her time as the divinely lovely Mary Rob 1 2 inson and the superb Emma Hamilton .

The English have by tu rns compared

u West to Raphael , F seli to Michael Of n . Angelo, and Rom ey to Correggio

the thr s t ee comparison , dicta ed by national

ri a un p de , the last alone is justiﬁ ble ; for,

1 The actres s Mar Ro ins on who was s o e itc , y b , b w h ' in l e auti ul s eems to ave e en one ofG ain s orou s g y b f , h b b gh favorite models . Four portraits ofher painted by him

h al a r r s n e h r i h r f are known . He as w ys ep e e t d e n e a vorite rale of P erdita . Thes e four portraits are in the

Es inas s e Wall ace Fe r in an R ot s c il n W n p , , d d h h d, a d i ds or colle ctions . The one in the Wallace collection is the

’ mos t important. As in nearly all ofG ains borough s por traits the ers ona e s n s ut rom a , p g ta d o f a l nds cape back

roun roa l tr ate . Th Win r all g d, b d y e d e ds o g ery pos s e s s es onl a s mall s e b ut it is s r l r in y k tch, upe b y fee touch and

Sir Wal ter Arms n at h tro g, the Cur or of t e Mus eum of D u lin has ritten a oo f e r t b , w b k o th g ea es t inte re s t on

Gain r s bo ough and his wo rks . It is the mos t complete s tu ofthe r a dy a tis t that has yet ppeared. 1 B E I L W ME I 76 AUT FU O N N ART.

Fus cli a like West and , whose t lents have

‘ a been consider bly overrated, Romney was l a e a great painter. It may, perhaps , be s f ly asserted that he was one of the ﬁ rst paint

ers of his time . The excessively good opinion which

the English have , or, more correctly speak

ing, did have , Of West and Fuseli is the more surprising when one remembers that

was neither of them born in Great Britain , one being an American and the other a

w was n S iss . West born in Spri gﬁeld ,

n s I O 1 6 Pe n ylvania, October , 73 , and it Z was in urich , Switzerland , that Fuseli , i ﬁ the English M chael Angelo, rst saw the

1 1. light, in 74

1 e r m rn t B k s ide D ecem er G o ge Ro ney was bo a ec , b

1 1 and ie in e n al in 1802. H e is c ieﬂ 5 , 754, d d K d h y n n as a ortraitis t e s ciall as a ainter of oman k ow p , pe y p w , although he painte d s e veral importa nt canvas es ins pire d a l by the trage dies of S h ke s p eare . Like R eyno ds and G ains orou he attaine the e r ecti n of his art in b gh , d p f o

i mas r i is the painting of a feminine portrait. H s te p ece the pretty reader named S crm ofthe Thurlow collection.

E W M ART 178 B AUTIFUL O EN IN .

e s s West, lik Fuseli , pa ed the greater part of his life in England . He came to

L of o ondon just after the death H garth , and formed a close friendship with Rey nolds . Together they founded the Royal

a t s c Ac demy, of which Wes uc eeded Rey

s nolds as president. We t painted some

s w good portrait , but he o es his reputation ,

in va both England and America, to his st

e historical canvases, which possess genuin f qualities o composition . His best and most celebrated works are The Battle of

The Hague, Death of Nelson , Cromwell t Dissolving Parliamen , and Death on a a h P le Horse, a strange picture, muc more impressive than the famous Nightmare and the S hak es pe rian and Miltones que fantasies of Fuseli .

There is no point of resemblance b e

w n n s e t ee Rom ey and Gainsborough , who

“ e r m instinctive art, and painting p fu ed R R GAINSBOROUGH AND OTHE PAINTE S . 179

i w th grace, deﬁes all sensible analogy ; but the former may properly be placed

w Of has bet een Reynolds, whom he the h substantial and intelligent workmans ip, L w w and a rence, who seems to have borro ed his slightly affected grace. His ample and luminous to uch reminds one of Par mi ian in o i g , and even at times of Tit an and Veronese. But what as sures to him a un ique place among the great English portraitists, more concerned in general with the elegance of a h ccessories and with exterior grace , wit

d a in n the ecor tive aspect, short, tha with

al moral significance, is that he did not ways sacrifice expression to effect ; and that, while seeking faithfully to portray exterior life in its most magnificent and seductive aspect, he very Often succeeded in expressing the integral individuality of

m In the odel . this respect, Romney is

f e ih a truly great portraitist, and his am L BEAUTIFU WOMEN IN ART.

too n creases day by day, as his work , lo g

b e imprisoned in private galleries, comes f re o the eyes of the public . He posses sed a pas sionate sense of f u was eminine bea ty, and this the secret of his triumph as a painter Of the beau ti

m e of ful wo en of his day, among oth rs E L mma yon , of whom he made those

w 1 8 and 1 1 superb portraits, bet een 7 5 79 , which attracte d the attention of the Eng lish nobility . Emm a Lyon was the natural daughter of a cook and was born in Ches hire . After having bee n a servant in an inn in Lon

as don , then posing a goddess of beauty

e a e in living pictures , and l ding an irr gular

a wf life in gener l, she became the la ul wife

s of Sir William Hamilton , ambas ador to

a t t r n N ples, the in ima e f iend of Quee Car

ﬁ n L oline , and ally the mistress of ord

18 1 in Nelson . She died in Calais in 5 ,

e poverty and n glect.

G SB R G AND R P RS 18 AIN O OU H OTHE AINTE . 3

Vi ée L Mme . g ebrun , always in quest of m fashionable models, made several ediocre portraits of this strange, superb creature . The artist has left in her memoirs details w concerning this courtesan, which ill be more effective in perpetuating her mem ory than her commonplace portraits .

L had ady Hamilton no wit, but she was exceedingly malicious and gossiping ; so much so, in fact, that disparagement ofothers formed the sole subject of her con versation . She had shrewdness enough, w ho ever, and she used it to secure a d title husband . She lacked style, and dressed very badly when in everyday costume . “ I remember that when I painted her for the ﬁrst time , as a sibyl, she lived at

t W Case te , here Sir William Hamilton had

r aux rented a house ; I went the e daily,

ﬁ n ious to ish my picture . The Duchesse de Fleury and Princesse Joseph de Monaco 184 BEAUTIFUL WOMEN IN ART.

n at t t were prese t the hird sit ing, which was also the last .

“ L 180 2 When I went to ondon , in ,

n Lady Hamilton had j ust lost her husba d.

and s e e me I sent her my card , she came to in e m e the deep st mourning. An im ens black veil enveloped her ; she had had her

a off e a be utiful hair cut to w ar it la Titus,

a n in accordance with the prev ili g mode.

“ d s I found this An romache enormou , as she had gained in ﬂes h She told me between sobs that she was indeed to be pitied ; that in the loss of Sir William s he

b and had een bereft of a father, a friend ,

be l that she could never conso ed .

“ I must confess that her grief made little

m me i pression upon , as I thought I could see that she was acting a little comedy.

I was convinced of this when , a few mo

m on ments later, noticing so e mus ic the

hum on e of piano , she began to the airs h s e saw there.

M ART 186 BEAUTIFUL WO EN IN . is so rich in capital works of the English school of the eighteenth century. Nourished by a study of the masters

e like Reynolds , ndowed at the same time

of with the native facility Gainsborough , smitten with feminine grace and elegance

L and like awrence, being a subtle and profound observer, Romney indeed pos sess ed all the gifts needed to make a por iti tra s t . o of the very ﬁrst order M reover, as we have already said , he brought to the portrayal of the charms of his chos en sub j ects an ardor of convictio n which con tributed to the perfect realization of his task . His susceptibility to feminine inﬂuence has been urged against him in an ex ag gerated fashion by the rather excessive

“ his prudishness of biographers . It was

e n to his susc ptibility to femi ine charm , combined with his susceptibility to artistic

s impres ions, that he owed a part of his G NSB R G AND R P N RS 18 AI O OU H OTHE AI TE . 7

n u genius, the se timent of excessive bea ty.

Tell me whom you love , and I will tell

h e you ow you paint. Romn y is almost the only o ne Of the English artis ts over whose life women exerted an important ” 1 inﬂuence .

d and Reynol s, Gainsborough , Romney were the great painters ofwoman in Eng

in land the eighteenth century, and we ask o urselves whether there has be en in the

world a school of painting which could, in a universal ex hibition of the feminine por

h of trait, rival the English sc ool the epoch , even if the latter was represented only by the works of the three artists above men

tioned. L w Without mentioning a rence , Rae

and H o ne r burn , pp , who properly belong to the beginning Of the nineteenth cen h tury, and of whom we s all speak later,

‘ the Englis h woman of the close of the

’ 1 W Bur r mne H i rt z re dc: aint”: . e . George Ro y, o p ( g ) 88 B L W ME IN T 1 EAUTIFU O N AR . eighteenth century found other elegant

e in e E n leheart int rpreters G orge g , the pai nter of the charming portrait of Mrs .

s r Mill , so att active in her large plumed l in O ie a n hat ; John p , a remark ble femini e

in L portrait by whom is the ouvre, and who , with great force of observation , por trayed the troubl e d expression of Mary

n d Wollstonecraft (Mrs. Godwi ), pon ering, w v a s n ith isible nxiety, over her mi sio

h Cos wa e d in life Ric ard y , the reﬁn author of so many exquisite miniat ure s ;

n st and Copley, who, like Benjami We ,

m n a was born in A erica of E glish p rents, and whom Americans claim as the ir coun tr man his y ; in reality, he did not leave native land u n til he was thirty - seven years

t m us Of age, after having exhibi ed nu ero

1 ll in 1 6 1 and ie John Opie was born in Cornwa 7 , d d r d n in . H was the s on of a car ente an in Londo 1807 e p , l was one ofthe bes t portraitis es ofhis time . H e also eft

o R e n lds an c res n P ain tin ic e re a Life f y o d Le tu o g , wh h w publis hed in 1808.

190 BEAUTIFUL WOMEN IN ART.

is wife . This my third , and she must have

’ a place in the family group . The third wife was introduced in com ” 1 pany with the two dead ones .

1 o n in let n CO le was rn in Bos t n in 1 J h S g o p y bo o 737,

an ie in Lon n in 18 1 The m ums ofthe nite d d d do 5 . us e U d

States contain s everal ortraits him amon ot ers p by , g h s ome c armin ortraits of ome n H e was a oo or h g p w . g d p tra itis t he e x celle in min iature b u h s the reates t ; d , t e owe g , if not the e s t art of his ame to his is tori cal com b , p f h

os ition ins ire ot an ci nt and mo ern s u ects p , p d by b h e d bj ,

s uc as the D eat ofCleo atra D eat ofMa or P iers on h h p , h j ,

and others . S tudies of the artis t have been made by

All n nnin Willi an a Cu gham and am S dby. R VI CHAPTE I.

OPENING OF TH E NINETEENTH CENTURY —THE ART OF TH E RS MP R FI T E I E .

VENbefore the beginni ng of the

n ineteenth century, the succes sion of artists who had accepted David as an imperious mas ter lent their

’ clas s ic eﬂ orts to the demolition of Coype l s

m a r Elysiums and po p dou es q ue pastorals.

W n ith Vien , Vince t, Regnault, Peyron , stern history made its ﬁrst appearance in the Olympias of allegorical and gallant

. r r mythology The Ho ace , Belisa ius, Bru L tus, Socrates, and eonidas of David had

u brusq ely put to ﬂight, before the close of the eighteenth century, the last ribboned and garlanded groups of Lin damors and S ylvan de rs which still lingered on the 192 BEAUTIFUL WOMEN IN ART.

and e scene ; r markable painters , whose tal ents we re to develop fully between 1800 and 18 20 wn n , acquired brilliant reno duri g the artistic e ra which dominated the tragic events of the period between the reform of David and the dawn Of the nineteenth century.

as we For this re on are compelled , at m the risk of i portant omissions , to place ours elves in slight contradiction with the

i of our b chronological d vision subject, y m aki ng in this place some retrospective incursions i n to the closing years of the eighteenth century .

of Moreover, did not the art this eigh te e n th Of century, an art such special char ' acte ris tics s in tuelle , made up of p , frivolous

of ih grace, supreme elegance, and also

' sipid aﬂectation and bad taste in its period of of decadence , vanish forever in a cloud rice powder and the perfume of faded roses on the day when Vien replaced

194 BEAUTIFUL WOMEN IN ART.

genre pictu res the most attractive of th e ir

on ff c temporaries , under the di erent aspects

of housewives , great ladies, very sentimental

e s s maid n , and al o very giddy ones, as may be se e n from an examination of the pre tty

- w e r . at r colo s of J . B Mallet, the compatriot ofFragonard and the clever and graceful

' ' of L a Colomée L a B rébz s C/zén e painter , ,

' L a Toile tte de !a mariée and m tro em , Q p

6ms s e ma! étrez rz t . Vi é Without speaking here of Mme . g e ‘ L r rOle oﬂicial t of eb un , whose as pain er

M arie- Antoinette and her court has been

r al eady described , and whose name will

o e s on r appear, the artists who successfully i n terpreted the fe minine s ubject during

the agitated period under consideration , seemingly little suited to the serene mani

fe s tatio n of art, are numerous, and their work in portraitu re is ofthe liveliest his

torical the interest. We will mention following : F TH E RS MP R 1 TH E ART O FI T E I E . 95

Houin , a sincere observer and a clever

who draughtsman , has left some attractive pictures Of women in t wo- toned c rayons ;

Mme . Guiard , who on the very eve of the Re volution painted interes ting portraits

an d . of Mme . Adelaide Mme Victoire ;

B oill w y , hom we have already noticed

n among genre pai ters, and who has not only left us ﬁ n e and coquettish pictures of

n women , but has also sig ed a considerable

r f number of feminine port aits , o ten of a dry, uneven coloring, brilliant without warmth but at times, too , of brilliant and

i L fascinat ng workmanship, as that of ucile

Desmoulins, a charming work, all grace m and feeling ; Ducreux, one of the ost pro liﬁc portraitists of the revolutionary period , d more intereste , as was the case with most

of ﬁ n of the serious artists the time, in xi g for posterity the features of the heroes of the day than the charm and elegance of

w . omen Occasionally, however, a charm 1 6 B L W M ART 9 EAUTIFU O EN IN .

w ing face, lighted up ith a melanch oly

s ﬁ ne smile, appear among his pastels.

H eins ius of We will also mention , one

i h Mme whose most beaut ful portraits, t at of .

V s Roland , hangs in the museum of ersaille , not m of o far fro that Charlotte C rday ,

a o h p inted by Hauer at about the same ep c . Certain doubts exist concerning the por trait of Mme . Roland, while, on the con trar l y, that of Charlotte Corday is forma ly authenticated by the history of the picture

n and the inscriptio which it bears . fﬁ Hauer, the O cer second in command of the Cordeliers, went to the Revolutionary N Tribunal to paint Charlotte Corday. O ticing that the soldier- artist eyed her

z attentively, as if trying to sei e her like

a ness, the young woman turned her f ce towards him , and , after receiving her sen him tence, obtained permission to pose for for a few moments . She was so pleased with the portrait made of her that she

THE ART OF TH E IRS MP R 1 F T E I E . 99

look thanked the artist, and gave him a of her beautiful chestnut hair.

Nor The head alone, adorned with a tall mandy cap of white tulle, was completed from life . Hauer relates that, having seen the executioner throw a red mantle over her shoulders on the day of her death, he com ple ted the portrait with it. This state ment of the artist proves that the whole

s e e as bu t of the portrait has b en repaint d , the Charlotte Corday of the Versaille s

Museum is dressed in white . To this ve ry incomplete list of noted por traits Ofwome n executed between 1789 and

1 of Mme 800 . e a , let us add those R c mier, the one painted by David and the other

é a ﬁ 1800 by G r rd , the rst in , the second in

180 5 . Another portrait, of less artistic merit, shows us this interesting woman at

of a comparatively Obscure period her life .

is . It the one painted by Mme Morin , in

1 e w 799, which Mme. R camier al ays kept 200 BEAUTIFUL WOMEN IN ART.

in her posse ss i o n . She is represented

a s t a st nding again landscape background,

re s in e w t e and d sed whit , i h n ck arms bare, her cheek resti ng on her right hand in an

t a s atti ude of medit tion , the coquetti h glance u nder the bl ack ringl e ts harmon izin g little ” l w n ith the pe sive posture . This picture,

e e n n lat ly purchased by the gov r me t, is now

the m Of s a in museu Ver illes .

Ains i ton se ul as pect a ﬂett i les atours

n un lux ndi e n ac a lai le s amours Do t e i g t c b t ,

Ces é tern als e rceaux ces ﬂeurs tou ours clos es b , j é ' a i Qui m auraient fait h ir le p r n te mps e t les ros e s .

n vit tous ce s e r e rs amants d e leur miroirs O b g , ,

’ D e leur ru ans char es s e nfuir vers les o udoirs b g , b ,

a alan me rve ille s Et s e rr nt de dépit s e s g te s ,

r e ill La Flore de s salons re mporta ses co b es .

We select this stanz a from an inter min able poem read by the worthy Ducis

1 8 n of in 79 , at the I stitute , in honor the

1 a n r P e Mus i MM. Pierr de Nol o et A é erate L c e h d , National d¢ Van ad iu mdes cription ofthe chateau and its

collections .

H E ART OF TH E IR MPI R 20 T F ST E E . 3

’ ’ S ermmt d a ea ae P au me painter of the y ,

and greeted with the applause of the public . ll It is, as may be seen , a pompous as we as a picturesque epitome of the ne w aes thetic creed of which Louis David was

the undis puted expon ent. Without seeki ng for the cause of the

“ a man ts de leu r ﬂight of the shepherds,

miroirs , whom Ducis pictured as Narcis

suses in satin breeches, and of the vexa ' ” o r rem orta”! s es corbez lles ti n of Flo a, p , ﬁ we will con ne ourselves, for fear of wan

our e dering far from subj ct, to asking What place woman occupies in the work

of the great painter .

It is considerable , and the feminine sub

ect a a j ppears in two very distinct ph ses, in which the genius of the painter is singu

larl s L es y contrasted . Fir t, we will notice

’ ’ A mours de P aris et a H é12ne, L a Ves tale

’ cou romzée ae F le urs A elle o nan t Cam , p p ig

’ ‘ ’ as e def/ an t Alaxan dre L E n /evemen t aes p p , 20 B U L W M IN ART 4 EA TIFU O EN . .

S abina h ﬁ , and those c arming modern g

e ures , so real and lif like, representing

. l n L s Mme Cha gri , Mme . avoi ier, Mme .

’ e d Orvillie rs R camier, the Marquise (a m o asterpiece), the Marquise de S rcy de

The l us s on . Ve rn inac , Mme de , Mme . de

R S e riz iat m ichemond , Mme . , and so any other women of the epochs of the Revo l ution and the Empire .

In a his cl ssic compositions , David is

e faithful to his early t ndencies, and ever consistent with his academic and revolu tionar his y doctrines ; and Helens, Cam

as es s p p , and Her ilias are very noble pictorial interpretations of the marble

e goddesses of antiquity, suddenly animat d by sentiments which manifest thems elves by a properly regulated and perfectly correct play of expression . Here the representation of woman is

v entirely con entional , and she appears more like an elegant and noble formula

206 B I L W M N IN ART EAUT FU O E .

her beauty immortal , as was done for l L mer y by ucrezia Buti, Chiara Fancelli ,

r L L Ma ia di enzi , and ena Morella, and as Pauline Borghese , the sister of Napo

n the leon Bonaparte , was soo to do for

a d zzled Canova.

This praiseworthy immodesty of Mme . de Bellegarde might seem a triﬂe free and ris que? in our day ; but without seeking to justify it, or rather to explain it, by ex amples borrowed from tradition , we must not forget that when David pai n ted the

E n l évemen t de s S abin a , that is, in the m period of the Directory, the pro inent ladies o fthe time were not distinguished

an s by excess of mode ty, and that Mes

r Tallie n dames Beauha nais, , and Hame

n w lin , amo g others, were ont to parody the most scantily draped models of antiq uity by promenading in the gardens of the Palais - Royal and othe r public places in costumes which left the arms and TH E ART F TH E RS P R 20 O FI T EM I E . 7

r h shoulders uncovered , and th oug whose diaphanous folds gleamed the nude splen

of dor their forms. Even admitting the truth of the state ment regarding his model for Hersilia, we must confess, however, that even if

David copied the beautiful form of Mme . de Bellegarde with pure modelling and

n n supple, undulati g li es, he was power less to animate it with the life, color, and movement of the original . How much to be preferred to this superb

ﬁ l r but cold gure , with its dull, ﬂat co o ing and or conventional pose, are all those p

of own of traits the women of his day,

in such striking naturalness, and , in the ma , animated by a very personal life ! In these David showed himself to be a

n m great artist, an i disputable aster. His vast Greek and Roman pictures are e n

of gines war, skilfully directed against the pictorial frivolities of decadent art. His 208 B L W M ART EAUTIFU O EN IN .

a S n portr its, on the other hand , are the po tane ous s products of a discerning geniu , desirous of embodying the e xpres s io n of modern life in the energetic and precise

in form of a drawing, always classic , but th ese cases intentionally rel axed and softened . Brie ﬂy to indicate the artistic scope of

fﬁ e the great artist, it will su ce to examin succe ssively the digniﬁed academic theo rie s embodied in the E n l évemmt de s S a bine: (a model of its kind), and the

m r char ing port aits of Mme. Chalgrin and

m e a L M e . . R c mier, both in the ouvre

’

. e The portrait of Mme Recamier, a pur

r gem as rega ds workmanship, color, and ﬁ drawing, although un nished , is too well known to need a long description . The marvello us beauty is represented half- re clin in on an of r g a div G ecian form, in a

’ ’ - is b d l an tz ae bath room . She gar ed g in a long white gown , which leaves uncovered

B W M IN ART 2 10 EAUTIFUL O EN . o ne ofthe petted queens of society posed before him , and also, it is said, to free him selffrom the annoyance of having to wear spectacles before this pre tty woman ; so when Mme . Recamier came for her last sitting, he said

‘ a m M dame , women have their whi s ;

me artis ts also have thei rs . Permit to gratify mine ; I shall leave your portrait ” n i i ts present condition . This explains why the portrait was never

e e compl t d . This does not in the least

ra m S det ct fro its charm , however, ince the

a of he d is ﬁnished , and the indication

s f the acce sories, in per ect harmony with

the rest, permits us to see the intentions f o the artist and his methods of work .

Le t us paus e for an instant before the ﬁ ’ lofty and poetic gure of Prud hon, proudly isolated in the midst of the mélée of schools

and the clash of doctrines . THE ART OF THE F RS MP R 2 1 1 I T E I E .

u a This artist was a tr e painter of wom n . Whether she lives on his canvas in the

x form of the portrait, or whether he e hibits her to us in one of those ofﬁ cial allegorie s which n o one eve r knew how to handle

e t ah better than he , or y again , when ,

e sorb d in anacreontic reveries , he feelingly hl é' portrayed her as Psyche or C o , it is always the very essence of feminine grace

r that is expressed by his art, cor ect and

re ﬂec light, vaporous and luminous, the tion of that of Leonardo da Vinci and l Corre io one gg ; a sensuous art, too, but whose sensuousness manifests itself in the ideal splendor of form and the chaste nobleness ofpos ture .

He, too , looked back to ancient Greece but without for a moment losing sight of

t n the life of his ime, and without professi g systematically, like David and Ingres , that

1 ’ Pru on Pierre rn at l in 1 8 i in d h ( ) , bo C uny 75 , d ed Paris in 1 2 8 3. 2 12 B T L W M IN ART EAU IFU O EN . the principle of the ideal mus t be s ough t

a for in the p st. With a peculiar eleva

and c n rm he tion of style a onvinci g cha , treated in the Greek style the mos t im probable and the most abstract subjects ' ’ ’ L a L z éerté few ers a a t l /zy are de la ty ran

' ’ ' ’ ' me L Etude u zda t l es s r da Géme n o . , g , etc

u a r But, besides these gracef l llego ical compositions , in which the Republic ,

u a and V are Eq lity, Innocence , Glory, irtue clothed in feminine forms of the greatest

’ e t a b au y and grace, Prud hon p inted some

of portraits women, in which the poetry ofs n me m i of e ti nt, the amorous ag c color

m - all h s ing, the suavity of the odel, t o e ess e ntial and almost instinctive qualities which characterize the divine manifes ta

the tions of his art are united , under dis

s to gui ed hidden strength of his drawing, individual exactn ess . Never was human personality more re s ected n m ho p tha in those sweet, elanc ly

TH E ART OF TH E RS MPI R 2 1 FI T E E . 5

h portraits of Empress Josep ine , so beauti ful in her creole nonchalance and pen sive r n everie, as she reclines u der the great trees Of Malmaison ; of Mme . Copia, whose whole happy and loyal nature is mirro red in the sweetness of her expression and he r é slightly mocking smile ; of Mme. P an de

- f f s O . o Saint Gille , Mme Navier, the Prin

ﬁ ne and cess Bacchiochi , whose haughty charm is so powerfully evoked in an ad mirable sketch ; of Mlle . Constance Mayer, the kind and tender companion of the

’ artist s dark days . Three women seem to have furnished Prud ’hon with the essential elements of the ideal type expressed with s o much nobleness and grace in his mythologi cal , allegorical , and religious compositions.

The ﬁrst was Mlle . Marie Fauconnier, a young girl of remarkable beauty and a

the charming disposition, whom artist

his loved purely, without ever declaring 2 6 B L W M ART 1 EAUTIFU O EN IN .

It passion. must have been this youn g girl who was his model for those delight ful pictures having for titles L a F amille

’ ’ lzen ren se L A mon r et l l n noeenee Man e g , ' ’ ' ' man petz t ange L A mon r réa mt a la

' ' ' ' razs on 0a les olzs etz ts ck ze s j p n . He also had an affectionate friendship f r o . of Mme Copia, the wife his excellent

n in a n friend and e graver, and the re lizatio i ’ of his spec al feminine type, Prud hon evidently borrowed from the severe an d

’ pure lines of Mme . Copia s beauty. Finally there appeared in his sad and

an broken life the radiant Const ce Mayer, h whose charming smile , whic the artist has immortalized in the best part of his work, was so soon to be extinguished by

1 death . It irradiates them as the smile

hi i s on uct was ir Abandoned by s w fe , who e c d regu ’ lar in the extreme P ru on forme a liais on ith , d h d w Wi n an Ma n fhis es t u ils . t her he Co s t ce yer, o e o b p p h found the domes tic happine s s vainly s ought for hereto

2 1 I L 8 BEAUT FU WOMEN IN ART.

chie vous S mouth , which is lightly Open,

s howing the teeth . w m Belo the eyes, the nose, the outh ,

are on the whole lower part of the face,

c mysterious shadows, in which the glan e

s s in lose it elf indistinctness of outlines .

Amorous, mocking, sentimental, ardent,

e — is p nsive, voluptuous, passionate , such this mysterious and fasci nating coun te m nance, in which one sees again the enig a 1 ofLa oconde of the smile J .

1 Gus tav eﬁ ro has ritten an excellent articl M. e G y w e ’ n P ru on ic a eare in his Vie ” ma “ an o d h , wh h pp d y , d “ from which we quote the following : The faces of ’ ’ Prud hon s women are mirrors in which are reﬂecte d t eir s r h u ts and u o n ic t eir tas te an d h ec e t t o gh , p wh h h li te his ac s ri tl in des ires are ins cribed . He gh d f e b gh y m h n e in los t in s a ows . H e o e lle s pots , t e co tours b g h d d d them as a draughts man who des ires form rather than

n aries an ur ac s rat er t an lines . He love bou d , d s f e h h d

la h ri s ra s on the ore ea the t ink in to p ce t e b ghte t y f h d, h g

ar nd n attenuate li h on all the ot er eatures on p t, a a d g t h f

minine o s a low roa ro the ace . His e t e s f f yp h w , b d b w, a s trai t n s e and a lar mout ma in the c in a ear gh o , ge h, k g h pp ” more elicate . e n in s eakin ofthe art it w ich d Th , p g w h h the painter expres s ed the characte ris tic charm of the THE ART OF THE RS MP R 1 FI T E I E . 2 9

’ u There never was a Pr d hon school ,

e s e ak in or prop rly p . The artist had a hor

ror e . of teaching, it s ems A genius of such unique characteristics must ne ce s s aril t e n y have sought soli ude, and the chanti ng feminine apparitions which ﬁ lled his entire existence , hastening forward , at

S f m a ign rom him , fro the depths of his

on f ﬂorid antiquity , took orm under his crayon or his brush only when he was entirely alone, absorbed in his tender dream of sensuous poesy.

Vi ée L s o Mme. g ebrun painted ome f her be st portraits u nder the caressing in

’ ﬂue nce of the genius of Prud hon, and

h a c r Mlle . Constance Maye r as left us e tai n number of familiar and allegorical

“ ’ c ee M G eﬁ ro s a s : Pru on ne how to aint h k, . y y d h k w p

h e n a n it alls t e che k and give it its es s e tial pl ne . Upo f the light ofthe e yes ; in it dis appears the s mile of the The women of his fancy and thos e of his portraits . s miling portraits l they are more profound and more l melan cho y than the others . L W M IN A T 2 20 BEAUTIFU O EN R .

' c L a M2” abandon n ee compositions, su h as ,

' L a an:z lle ma lnen ren s e L a Mé re ke nreurse f , , in which the image Of woman is outline d

one with elegance and grace, and fancies that the brush of the beautiful artist was assisted somewhat by the hand ofa master who took care that the work of an adored

S n pupil hould not fall into forgetful ess .

' The illustrious painter ofLes P es tzférés ' ' ' de a L a B ata z lle ae a a L a B a taz lle j af , Yf ,

’ ' ' ' ’ d A éonk z r L e CLam d e eataz lle d E lan , p y ,

r and so many other t agic subjects, was also a great portrait painter, as the gaudy and heroic pictures of Lasalle and Fournier

S arlové z e m , and the ore subdued ones of

X . Cha l L . ta ouis XVI I I , Charles , and p testify.

of w Although the art Gros, ith its vio

u lent, nexpected coloring and its forced and bold tints, is better adapted to the agitated movements of crowds and the

2 2 2 B TI L W M I N ART EAU FU O EN .

on Girode t sess the notes , we will quote a passage from them . The whole artistic creed of David and the mannerism of the painter of A tala stands out from t hese fe w lines with extraordi nary re lief : It is to Rome that Girode t has gon e to perfect m his s . us tyle As is y c tom , I gave him some little suggestions as to his studies in that country. I advise d him not to be forced in his conceptions I represen ted to him that the

was m s beautiful the si ple, even in the trong est things ; that he would recogniz e that

in of L n r o truth the works Raphael , of eo a d

of da Vinci , even Michael Angelo, if he knew how to detect it ; that his habitual fault was exaggeration ; to remember that it is exaggeration to overdo even s im plicity ; that to pass the limit is called ” mannerism . The notes on Girodet terminate with

“ : Gir et s . od ex these line Well , M must TH E ART OF TH E IRS MPIRE F T E . 2 2 3

pect an estimate of his talents from the

n a n public, not from the pe s of p id jour al

is ts Le t i . him ﬁll his mind with this n

contestable principle, that one should force only things which are susceptible of b being forced , but that this ecomes man

ne ris m as soon as a limit is passed . In

Girode t his conversation , M. has too often

in confounded cleverness and genius, spite

m oft- r : of y repeated emark Cleverness ,

Girode t Monsieur , is the enemy of genius ; clevernes s will do you a bad turn ; it will

’ u — bewilder yo mislead you .

‘ He replied : Give me the cleverness of and s which you speak , I shall oon have

’ the genius .

“ w . I am aiting In truth , he is a pupil

u of whom I am proud . I sho ld not have expressed myself at such le ngth in regard him ” to if he had not deserved it.

’ The dominant characteristic ofGirode t s talent is grace ; hence woman ought by W M IN ART 224 B EAUTIFUL O EN .

right to appear often in his elegiac work , and even to be the principal and most fas cinating subject . But what conventional and affected grace ! The taste of the times must be blamed largely for this .

Girodet Gerard W , like , of hom we shall soon speak , submitted servilely to his time instead of dominating it .

’ His D anaé s and Galateas have the sweet

of beauty of the virgins Ossian , and this inane analogy appears still more plainly in the vaporous and artiﬁcial light in which he tries to make them live , and in which f he lived himsel , like his Endymion , under the bluish caresses of the moon .

L r s aﬁ ec ater, when c itici ing the painful tation Girode t of , David expressed this severe but just judgment On looking at the pictures ofRaphael and ofPaul Vero

’ nese , one is satisﬁed with one s self ; those people make you believe that painting is an easy art ; - but when one sees those of

L W M 2 26 BEAUTIFU O EN IN ART. cee ded in winning the favor of the feminine public by portrayi ng the vir

lu al r g graces of Flo a and Psyche, and the all - powerful protection of Napoleon

the of t by painting victory Austerli z . Thenceforward his life was but an unin

r ter upted succession of triumphs. He became the Ofﬁ cial painter of Power and Grace , the throne and beauty. After his facile brush had gloriﬁed Bonaparte and Napoleon , Emperor Alexander and the n an d King of Prussia , Wellingto

r L Talley and , he portrayed ouis XVII I . at

. at and the Tuileries, Charles X Rheims,

’ the D ue d Orléan s accepting the Lieu

- e e tenant G n ralship of the kingdom . Fol

wi a of lo ng in the le d sovereigns , high

a dignitaries, and heads of armies, the be u tiful and noble ladies of the time replaced

one another in his studio, and neither Van

L Lar illiere s Dyck , ely, g , nor Gain borough m were, at the ost brilliant period of their AR F TH E RS MP R 2 2 TH E T O FI T E I E . 9

e careers , in gr ater demand by elegant and

e beautiful mod ls .

fﬁ t of . L The o cial por raits Mme etitia, of

Empress Josephine, of Caroline Clary, of

n Mlle. de Beauhar ais, brought his name

n n to the notice of the femi i e world, and

' the beautiful naéz tnés of Malmaison as well as the superb Tallie n and the grace ful Comtesse Regnault de Saint- J e an

’ d An el e g y , were consum d by the desire to see their charms represented by the painter of Mme . Bonaparte . The feminine favor which Gérard e n joyed during the Consulate was changed i n to frenzied admi ration after his comple tion of the portrait of Mme . Recamier

r u ordered by P ince August s of Prussia .

é r According to the opinion of all , G ra d had succeeded in expressing with con

u e r s mmat skill the sovereign g ace, the

r n e coquet y at o ce b witching and decent, and the inﬁnite charm of the siren of B I L M IN RT 230 EAUT FU WO EN A .

’ l Ab b a e - - y aux Bois, so youthful in her

a w s o g uzy white go n , graciously sym pathetic in her movement of inclination w to ards the spectator. She seems to say f ff I am beauti ul, and you all su er from

as my beauty I do from your torments . ? t But how can I prevent them Pi y me, my kind friends, and ever preserve for me ” your affectionate regards. And to these tender and melancholy ad monitions a succession of numerous kneel ing admirers responded, pressing long, respectful kisses upon the white hand maternally offered to them ; a pious pil grimage of all the victims of the sweet soother of roused passions ; a long lin e Of undeceived lovers from Lucien Bonaparte and M . Mathieu de Montmorency to the platonic Ballanche and the ﬁ ery Chateau briand , appeased in his turn . By mingling a little retrospective fancy

2 2 B L W M ART 3 EAUTIFU O EN IN .

one It is decidedly of the best, if not

’ r of e the ve y best, G rard s feminine por

one in traits, the which he has most happily employed his supple and delicate

‘ talent in the service ofthe most bewitch

of ing models . At the close of the second volume in which Baron Gerard has piously collected the letters addressed to his uncle ﬁ gures

of a list of the pictures, fragments pictures,

w - dra ings, full length , and bust pictures executed by the painter ofAusterlitz an d

e . Mme. R camier This catalogue com prises n ot less than three hundred pic ﬁ tures, one hundred and fty of which are

feminine portraits . In this golden book of art and beauty

Tallien appear the names of Mme. , Count

S varz ins k a ess , Hortense de Beauharnais,

came acquainted during her res idence in exile and pe r " s ecution . The prince paid Gerard eighteen thous and francs for

the picture he ordered. THE ART OF THE RS MPIR 2 FI T E E . 33

Zamors k a Countess , the Queen of West

. n phalia, the Queen of Sweden (Mme Ber a

n ée r dotte, Clary), the g acious Countess of

s a Jersey, the Duches e de S gan , the Princess

S chwartz e nbe r Mme . of g, de Talleyrand,

of the Countess Cayla, the Baronne de

er S chmnb orn Feuch es, the Countess of ,

be G ras s alk owich and the autiful Princess . Never since the days of Van Dyck had

’ an artist s studio see n s o many lovely models . All the elegant aristoc rats of

e the whole world s emed to assemble there . Gé rard was truly the great painter of

n woman duri g the Consulate, the Empire, and the Restoration ; and Mme . Vigée

L r ebrun he self, whose alert brush had c ti 18 8 ontinued to paint un l 4 , saw herself n d of eglecte by her admirers, in spite the se nsational success of he r portraits of La

‘

r S ta l . G assini and Mme. de é

ne w A social state had been formed .

In ne w n s t a new world, idols had bee e 2 B L W M ART 34 EAUTIFU O EN IN . u of r p in place the ones dest oyed , and popular favor naturally followed the favo r ites of the powers of the day. The painter of Marie - Antoinette had to yield to the

- painter of Josephine and Marie Louise .

In the list of great painters of woman

Of ﬁ r the rst part of the nineteenth centu y,

l rv . a p ace must be rese ed for J . B Isabey , r who , with a ve y personal and subtle art, portrayed the feminine graces and e le gance of his time . The epoch of Isab ey comprised the close of the reign of Louis

. r the XV I , the Revolution , the Directo y ,

n Consulate, the Empire, the Restoratio ,

of the Government of J uly, the Republic

18 8 of 4 , and the beginning the Second

18 L - Empire. In 5 5 ouis Napoleon Bona parte made him Commander of the Legion f o Honor. During half a century he sketched a

r on t in living commenta y French socie y,

2 6 B L W M N ART 3 EAUTIFU O E IN . forty- ﬁ ve years old at the time the portrait

a was p inted. His face is handsome and expres sive of kindness . He remarked to

who Isabey, had expressed a desire to return to his beautiful Lorraine in com pany with his young wife “ m I , too, hope so e day to return to my

in m f native province ; there, the boso o

r wh my family, surrounded by neighbo s o b t love and esteem me, I shall ecome heir ff ” r . father, the arbiter of all their di e ences This is a Couthon seemingly unknown ; a very different being from the terrible

' ' n e the raz n a i terpr ter of the law during p l . Notwithstanding his as tonishing vers a tilit e y , the art of Isabey was freer and mor

in of u at ease the interpretation less r de,

u m l the serio s, and co p icated subjects than

of of Conve n faces soldiers, members the f o . tion , or diplomats

c ra A follower of Moreau, Co hin , and F

he gonard rather than of Vien and David, HE ART F TH E M RE 2 T O FIRST E PI . 37 sought models in sympathy with the re

of ﬁned elegance his talent , whose inter mittent vigor can be explained only by the pressure of his orders . “ of The favorite painter high life, like L w a rence across the Channel , he gave the most fascinating expres sion of his aristocratic and delicate art in the attrae tive proﬁles and delightful images of

“ women which people his work . The ” Directory, says M . Blanc , was the period h whe n Isabey was most in vogue . At t at time he was the most famous of miniatur is ts a s , and his most beautiful portr it also

a d te from those years. They represent

’ Incroyables with hair dress ed in ‘ dog s

was ears while as for the women , it the

an d most audacious voluptuous , the rivals ” T lli n f . a e e o . Mme , who pos d for Isabey If all the feminine portraits in water

r colo s and pastel produced by Isabey, and now scattered among the collectio ns of the 2 8 B TI L W M N ART 3 EAU FU O E IN .

world , were brought together, they would

a m ke a most striking exhibition . They would present an ex ceedingly charming

' ' and spz n tnelle review offeminine phys iog n omie s s , and also of the feminine fa hions of m ala olle half a century, fro the bonnet f ’ of 1798 to the clz apean ae cabriole t of 18 30 ; they would form a natural sequel to an ex pos ition of the pastels and drawings of

L a s iotard, an equ lly observing, vivaciou , and proliﬁc genius.

According to the opinion of M . Edmond

Tai n g y, the authoritative biographer of

Isabey, the most remarkable feminine por traits of the artist are those of Empress m . Talli n M e e . e Josephine, Mme , de Sta l ,

and M r e e Sophie Gay, lle. Ma s. Th s portraits exhibit a ﬁnish of drawing that has never been surpas sed ; they are now

’ in the possession ofthe artist s family . Isabey also made several mi niatures of

- L of Marie ouise. During the s tay the

CHA PTER V I I I .

TH E EARLY NINETEENTH CENTURY IN ENG L ND AND ON TH E C N A ONTI ENT.

L w of m H I E, ith a degree sole n ity recalling at times the art of

' rand s z éele é r the g , Baron G ard was portraying the professional beautie s ofthe First Empire and the Restoration in h ostentatious settings, and while Isabey, wit his delicate brush , was depicting the fea tures of the great ladies of Malmaison on

L H o n e r dainty ivory plaques, awrence , pp ,

Raeburn , and Max Owen , continuing the

and traditions of Reynolds, Gainsborough ,

Romney, interpreted the grace and ele

of e gance of the women th ir own land. Perhaps no painter of the feminine por trait ever enjoyed greater celebrity than D N I N ENGLAND AN O THE CONTINENT . 24 1

Lawrence. Carriages stood by hundreds

his in before the door of studio, and since, as

ﬁ ve the case of Vanloo, there could be but

a sittings daily, the individu l who kept a record of them made a small fortu ne by 1 selling turns for enormous prices . The incredible success ofLawre nce as a portraitist was certainly due to the easy grace of his talent, the elegant coquetry of

t a his ar iﬁcial but charming art, to the f int perfume of aristocracy in which he bath ed

r w his pe sonages , so to speak , al ays placing them in an atmosphere of ide al pictur es ue n es q s . One al s o wonders whether his physical advantages did not in a meas ure contribute to his popularitywith the beauties

L as Van of ondon , for he was handsome as

Dyck , and, like him , irresistibly fascinating. His biographers all agree that his blue eyes were at once brilliant and incomparably

1 '' M. Rou uet D e I etat des arts an n le e P ris q , A g terr ( a ,

VOL. 11. 16 B L W M N ART 242 EAUTIFU O E IN .

a was soft, that his f ce expressive, his voice

s mu ical , his hair soft and curling, and his m anners distinguished, although somewhat

aff . n ected One can readily see that, whe to such n atural or even acquired qualities was added a gift of interpretation which made of him the most ﬂattering of painters ,

’ the quality of his elze n téle must have been

s l ofan e pecia ly select kind .

a aﬂi rm - we e It is s fe to to day, believ ,

r that, among the painte s of all schools, Thomas Lawrence was one ofthose who enjoyed a universal reputation as being an

e m id al painter of wo en , although his art did not possess the luminous and learned seriousness of that of Reynolds, the native

of distinction of that Gainsborough , nor the re ﬂective n es s i of , at times so penetrat ng,

a th t of Romney. With marvellous skill he knew how to

to make a smile hover around scarlet lips,

m a s kindle a soft ﬂame in hu id , zure eye ,

IN GL D AND ON TH E C N N 2 EN AN ONTI E T. 45

l to send vibrations of ight over satiny ﬂesh , and to bring into relief, with incomparable h brilliancy, the w iteness of skins and the

l v in s um tu warm richness of ve et, as the p L ous portraits of Mrs . Cuthbert and ady

Dower . And in reality one should not

r a expect of a favo ite p inter of pretty , coquettish women an art more profound than that of a skilful painter of birds and

ﬂowers. Lawrence did not conﬁne himself to

n b painti g eautiful women , however ; his portraits of men are also very numerous. The most celebrated personages of his

m s e : ti e po ed b fore him sovereigns, cele b rated r write s, illustrious scholars , and statesmen . He was the painter of George

v Walter Scott, Sir Humphrey Da y ,

L n r ord Grey, Canni g, Castle eagh , Aber deen , Wellington , and William Pitt . It would take too long to enumerate the great personages of England whose ex 2 6 B L W M ART 4 EAUTIFU O EN IN . te rior aspect and dignity ofcharacter have been preserved for posterity by his facil e and brilliant brush . During quite an extens ive journey over

r of Europe , he painted the port aits many

n celebrated perso ages, among others those of Bliiche r u , the King of Pr ssia, Emperor

e Alexand r, Pius V I I . , the Duc de Reich l stadt, the Duchesse de Berry, and Charles

. re X This last, t ated in the same osten tatious manner as the portrait of George

IV but less theatrical in bearing, appear ance , and composition, is of especial his torical value . But the subject most indispensable to

was Lawrence was woman . It in the

n nt representatio of the elega , coquettish m t was l odel , whose beau y part y due to cosmetics, whose distinction was due

1 The two portraits made by Lawrence ofNapoleon

11. are in the coll ections ofthe Duc de B as s ano of Paris

n Mar i a d the qu s e de Laval ette ofLondon .

2 8 B L W M RT 4 EAUTIFU O EN IN A .

triumph . It was his good fortune to have as his model one of the most beautiful

of n a women Engla d , an actress popul r with both the aristocracy and the public . He conceived the idea of representi ng the actress with bare arms and carry ing a m ﬂ" u . We strongly suspect that such a

oft was on L lack aste , the part of awrence,

of the result a delicate courtesy. For did not Miss Farre n do her duty heroically in exposing her arms to admiring audiences ? r in the depth of winter Mo eover, it was ve ry eas y for such an inspiration to come to a painter who wrote verse s worthy of the most perfumed poets ofthe eightee nth c r r entury. At any ate, the port ait created a storm offeminine applaus e . All wished to resemble Miss Farren ; many attempted

z a to do so ; and the cra e beg n. L e w awrence was an indefatigabl orker, but he was also a man of large acquaint

n n his a r . a ce , besides being oted for g llant y MIS S F AR R E . LAWRENCE . N

2 B L W M IN ART 5 2 EAUTIFU O EN .

” l o r s ess than seven eight minutes, ays

Couche s r M . Feuillet de , his ale t hand

a its would sketch drawing, striking in

was n o resemblance to the model, which t

of d r e destitute free om , elegance, or g ac ,

o according to the m del . This practic e of his youth was kept up during his whole career ; his facility with black and white crayons was so great that t h he extended it to his oil pain ing, whic

on s al he executed in crayons his canva , most completing them before spreading on the colors . He thus executed two

the pictures, one disappearing beneath

too n he e other ; and ofte , it must confess d , the ﬁ nished picture made one regret the

v ﬁ r truer and more expressi e st sketch . These revelations explaining Lawrence's method of work make this privileged organ

iz ation , in which were united the Opposed propensities of Don Juan and Saint Ben e

dict, appear still more wonderful . D D ON HE I 2 IN ENGLAN AN T CONT NENT. 5 3

H o ne r Referring to John pp , who had h w just died, and w om he survived t enty

L : years , awrence wrote to a friend You can easily believe that this loss of a brother in art is keenly felt by me ; I have often studied his productions with proﬁt, and our careers have run side by side for eigh ” teen years .

se And brothers in art, indeed , were the two charming painters of sovereign s and the great ones of earth , but, above all , of those beautiful ladies with proud and gracious visages and almost angelic expres

n sio , who claim the regard of the world ” n o for the E glish arist cracy. Although

of al their ideal expression is the same, though both are worthy successors of Rey nolds , Gainsborough , and Romney, their

i r styles d ﬁ e very sensibly. As has be en L well said , awrence is a Reynolds reduced . He certainly derived from the master very visibly . H e also sought to paint like 2 B L W M IN ART 54 EAUTIFU O EN .

e k the V netians, to model like Van Dyc , to focus light like Rembrandt ; but in spite of ﬁ all , his arti cial and complicated coloring ,

n although preserving a certai harmony,

n t ﬂoats in a compositio without warm h ,

e . L f strength , or charact r ess power ul than iﬁ t Reynolds, less scient c, too , less bound o the methods of a very well thought o ut

e r t eclecticism , he oft n pe mits us to detec the weakness of his art under the attrae tive ne s s of his method .

“ H o ne r e w e pp , that confr re hos works ” he ﬁ re had often studied with pro t, while

n in mai ing very English style, although born of a German mother and an unknown

a of f ther, resembles in the freedom his coloring the French mas ters of the eigh ‘ te e nth century rather than Reynolds .

1 n h r A mys tery is co necte d with t e bi th of H oppner.

W e in s at h was rn i on on in hat is c rta i th e bo n L d , the s ummer o 1 of a German mo t er em lo e in h f 759, h , p y d t e

ala of he Kin s ofthe ous e of ano er p ce t g H H v , and that royal patronage directed his early education . It was ln

B L W M I N ART 256 EAUTIFU O EN . life of H oppne r as Miss Farren did in that L ofSir Thomas awrence .

’ H oppne r s portraits are well distribute d among the English galleries ; he painted

rs some ﬁne portraits of men , among othe

m a th those of Willia Pitt and the ctor Smi , which one may admire in the National Gal

r in le y . But it is the painting of wome n and children , subjects suited to the expres sion of his tender art, that his genius as a portraitist manifests itself with the most brilliancy. h . t e His portraits of Mrs Siddons,

ia Countess of Oxford, the Princesses Mar

Cholmonde l and Sophia, and Miss Harriet y

r of i are maste pieces grace and dist nction .

l Raeb urn was a Henry not, properly spe k ing, a painter of woman, like the great

The English painters above mentioned . severity of his coloring, warm but sober, at

1 enr R ae urn was orn in E in ur M h H y b b d b gh, arc 4,

1 6 and ie in 182 . 75 , d d 3 AR TH T MRS . U O FF R . HO NE . B N

E F L W M T 26 0 B AUTI U O EN IN AR .

The robust painter of Lieutenant

r a n Colonel Bryce Ma c Mundo, Capt i

S ir Mac- Nab an Robert Hay, Allan , Nath m w iel Spens, and so any other orks, which are great by reason ofa vigor of workmans hip of the Franz Hals order an d

e a i a rar power of an lys s, did not limit him s elf to portrayi ng the charming image of

L a the ady in White of the National G llery. The private collections of England and those of Scotland contain n umerous por

Of me traits wo n executed by him . The ten

n der grace displayed in these pictures, eve

e those whose mod ls bear the marks of age, to which the artist has imparted a character of an v r pensive mel choly, pro e t iumphantly

h n t at Raeburn , whose fame is growi g daily

his too e as works, mysteriously hidden her

o the t fore , are brought before the eyes of

m r public, erits a place of honor in the b il liant galaxy of English painters of woman

n between Gainsborough and Rom ey. RAE UR MR S . S C TT M N RIEFF B N O o c . N l ationa l er Edin ur . Ga l y, b gh

26 4 BEAUTIFUL WOMEN IN ART. sent the brunette heroines of Cervantes

’ L D on u ix ote in eslie s scenes from Q , or the beautiful Venetians of William Etty. It is the same when the mild visionaries of Pre - Raphaelism came to pass before our eyes the mythical ﬁgures of their dreams .

The work of Goya belongs to two cen ‘ turies . In his collection of decorative

n d a man ufac painti gs, ordere by the roy l

of r h tory tapestries at Santa Barba a, whic

- 1 6 and 1 2 he executed between 77 79 , he very vis ibly submitted to the inﬂuence of h the eighteenth century, t rough the direct transition of the paintings of Luis Paret y Alcazar and in spite of the classic

counsel of Mengs . L The Breakfast on the awn , the Swing,

Man anares the Dance on the Bank of the c ,

1 Francis co José Goya y Lucientes was born in 1746

at Fuendetodes a little la in h r e a n . , p ce t e p ovinc ofAr go n a r He died i 1828 t B o deaux. GL ND AND ON TH E C 26 IN EN A ONTINENT. 5

- the Flower Woman , the Harvest, the Vil lage Wedding, remind one of the giddy

Lan and gallant canvases of Boucher, cret, and Fragonard. Still , the person ality of the future painter of the Caprices and the Evils of War manifested itself early in a coloring which was silvery,

l v clear, i ely, at times even sharp, but always sparkling, and , above all , by a singularly acute ethnical ex pression . His

ﬂowe r- l dancers, gir s, shepherdesses , and village maidens are always pure- blooded

Spaniards. The vibrating spontaneity of gesture and attitude forms a curious con trast to the conventional languor, the

s coquetti h poses , the provoking airs , of

Toin on L Philis and , of Pater and ancret. Goya is the painter of the Spanish

ar ex celle nce woman p , and the somewhat feverish ardor of his impetuous art, his

qualities of observation , his warm and

— one ornate coloring, reminding both of 26 6 B L W M N ART EAUTIFU O E IN . that of Rembrandt and of the Venetian

— e to masters his natural aptitudes , wer s erve him marvellously in the search for and the realization of that beautiful racial

s of ch type, the hidden repre sed ardor whi reveals itself with triumphant charm in a sudden pallor, or a fugitive, burning glance.

s r To tell the truth , Goya, like his ma te

al ful Velasquez, did not ways see beauti

o the m dels posing before him , for, in

Charles . d n family of IV , Venuses and A o

is os were as rare as in that of Philip IV . It is even probable that the great artist smiled at the grotesque appearance of his august model when he painted Quee n

Maria Luisa on horseback . But how lovingly his brilliant and sup ple brus h portrayed the feature s of the

La La Duchess of Alba, Tirana, Maja,

L S e iiora S ure da out orenza Coria, and , of lining, under the shimmering lightness

26 8 B L W M RT EAUTIFU O EN IN A .

By his very unusual qualities ofob s e r

mo vation , his passion for nature, his de rnit r n e w y , by the cor ect adaptation of a

r at formula to a new ideal , Goya appea s ,

the beginning of the nineteenth century, in the midst of a universal expression of

as o academic doctrines , a salutary inn

vator was and an irresistible leader. It n ot long before he was followed out of beaten paths and conventional environ m ment by the ost independent, daring, ‘ and resolute .

1 In his forci le s tu on the anis aint r Laf n b dy Sp h p e , o d s ays : H e had ide as concerning color which s ee m p ara ‘ ’ ‘ dox ical at rs t. In nature he s a s color oes not ﬁ , y , d exis t any more than line ; there is nothing b ut s unlight i r it a i f and s hadow. 1 can make a p ctu e w h p ece o char ’ al . All ain in is in s acri ces and intentions co p t g ﬁ .

Els ere h as s erts it conﬁ ent aut orit r e wh e w h d h y, e minding one of Ingres upholding in his celebrated apho i m hi trin s of art s o ifferent from t os e of th r s s s doc e , d h e

is mas ter As f r m s el I s e e in nature onl Span h : o y f, y li te o ies and t os e ic are in s a o s ur aces gh d b d h wh h h d w, f ’ which project and thos e which recede . 1 do not count ’ ir h eard ofthe man as s in he was in the ha s in t e h p g by, GL D AND ON THE N IN EN AN CONTINE T . 2 6 9

From Goya, ardent, feverish , impulsive,

n we will pass without transitio to Ingres,

m - glacial , acade ic, reﬂective , and self cen

ae t tred. The change is indeed p , but it is impossible to escape the chron ologi-s

a cal exigencies of this too r pid review. Ingres has not only left us pencil sketches, which rival those of Holbein and

oil Clouet, portraits in , the inherent life of which is n ot always frozen by the cold dr yness of the coloring, and pretentious compositions which he himself has not hesitated to qualify as sublime, but also a set of axioms in which his ideas and methods are set forth with an astonishing terseness . The reader may judge of this for him the habit of s aying ; my brus h ought not to do more than And again : Profes s ors confus e their pupils by mak in t e m trace for ears almon - s a e e es b ow g h y d h p d y , or eart- s a e mout s nos es li e an inverte an h h p d h , k d 7, d

al fa s Let t em ive t m n t re ins te a is ov ce . h g he a u ad ; th t ’ nl a in m r the o y dr w g as te . B U UL W ME ART 2 70 EA TIF O N IN . self by the following extracts : Rubens is a butcher who has meat in his brai n ’ ” and whos e canvases are butchers stalls .

! r . Ah , form , form it is eve ything Whence proceeds the beauty of the ﬁ rs t verses Of Genesis ? From the arrangement Of the ” words, the form . It was while s eeking for form with a genial obstinacy that Ingres penetrated

r the mys te y oflife and discovered beauty .

“ One t Has he not said somewhere, mus ﬁnd the secret ofthe beautiful by means ” ’ ofthe true i After having been submitted to the

t m of violent, and too often unjus , criticis

e law Th ophile Silvestre, by virtue of the

n r - of inevitable reactions, I g es is, to day, overwhelmed by the weight of excessive

s admiration , and by the blows of censer unskilfully wielded by the delicate hand of the terrible snob .

S e of G dz e Beware of p aking coldly the fp ,

GL D AND ON THE C 2 IN EN AN ONTINENT. 73

’ A rétin s A ot/zéos e d H omEre of the two , the p , ' ’ ’ ’ a: l H os tie L E ée d 1 Vier e H en ri V. the g , p ,

’ ea n ne d A re of Mar n Y , and the famous ly

’ de s ain t S m b m en of y p , the best portions which seem to have be en cut out in the

of A rraz z i W cartoons the , and hose muddy coloring was so miserably destroyed by the brilliancy Of the B a taille de Taille oonr e of g , at the centennial xposition French painting ! The works of the artist as a whole are l to be blind y admired , and one must, will in l c g y or unwillingly, admit the despoti individuality of Ingres in these restricted and impersonal works as fully as in the

Moit . es s ier admirable image of Mme , beau tiful as an Olympian of the Regency in her

ﬂowered gown ; of Mme . de Senones , the

. e symbol of grace ; of Mme Rivi re, the

e woman with the blue cushion, so whit under her black curls ; of the delicate and

D vau a f rv s . e o . et ne ou Mme c y , Mme Reis ,

VOL. 11. 18 2 74 BEAUTIFUL WOMEN IN ART.

Mme . Magimel , the Princesse de Broglie ,

i . Mlle . Flandr n, and others

Let if ou us content ourselves, y will , by

S m imply admiring M . Ingres in his aster d pieces . But let us admire, with unbounde d admiration , his concentrate , synthetic, and penetrating talent in those marvellous portraits we have just mentioned, where by the most subtile and intelligent o f

to eliminations, everything is reduced the essential . And let us admire him above all in those

ﬁ ne r n l e r d awings, co cise formu as of nti e characters , rather than precise indications of expressions and sentiments . In thes e

e e x ec u delicate masterpieces , of imp ccable

of tion , he has immortalized the features

H a r —L udeb ou t . Mme . escot, Mme Place ,

Mme . Haussonville, Mme . Raoul Rochette,

. r vi of Mme Ing es herself, her sage illu minated n and m with tender ess , any other beautiful ladies of the pas t . Wi thout con

2 6 B L W M IN ART 7 EAUTIFU O EN .

r Or of Hen y VI II . Charles IX and , with out of being the race of Tudor and Valois ,

a m in his c l and reﬂective tradespeople,

u a their hideo s environment of m hogany,

r e g een velours, and fringed hangings , hav the imperis hable as pect of documents whose historical value will but be aug me n te d with the ﬂight of years . As much cannot be said of the very f m l numerous feminine orms, someti es ful of w all grace , but al ays devoid Of individ ualit o f c y, which ﬁll the works the academi

of 18 0 of h painters the school of 3 , whic

re Ingres was the undisputed chief. We fe r n of to the productio s Paul Delaroche ,

. a S cheﬁ e r L Rob H Fl ndrin , Ary , eopold

Gle re ert , y , Hamon, and others, in whose pictures appear vague forms of princesses,

of crushed under the weight adornments,

r r chlorotic virgins , murmuring p aye s with

b ﬁ s hwome n a dou tful fervor, theatrical ,

s n a n ec tatic sai ts, amorous Marguerites, pl i IN ENGLAND AND ON THE CONTINENT . 2 77

r r tive Mignons, despai ing Medo as , and

n n you g and smili g Pompeian maidens ,

u lightly modernized by a delicate br sh , in order to ﬁll a rOle in a sentimental com position . In this mo n otonous ﬁle of impersonal forms, nearly all borrowed from the rev

of a and of eries s ints poets, no type a race

n or an epoch sta ds out in relief. If we wish to discover the physiognomy of the w of oman the epoch , it must be sought for outside of this sterile school, where the

of is love nature absent, and from which

s the spirit of direct observation is bani hed .

Gavarn i Ro ue lan o , Deveria , q p , Tony J han n ot n Eu é ne L , Henri Mon ier, g ami , and Constantin Guys show us woman in the daily occupations of life . They are apt

r of l chronicle s social elegance, inte ligent interpreters of gallant life, merciless satir is ts of the absurdities of the middle class, and touching narrators of human miseries . 2 78 BEAUTIFUL WOMEN IN ART.

These petits maitres are the most im portant painters of woman during the

r pe iod comprising the Government of July,

of 18 8 ﬁ r of the Republic 4 , and the st half

roman ti the Second Empire, when the ci s ts exhausted themselves in hallucina

in tions and visionary conceptions, which woman became either a demoniac or a ” celestial being. The physiogn omy of feminine life in its entirety, in both its psychological and ex

te rior m l expression , is much ore truthful y revealed by the lithographs of Gavarn i and

al Deveria, and especi ly by the acute, em

of u phatic sketches G ys, with their irony

as im as biting acid , than in the cold and

oﬂicial of D u passible pictures Flandrin,

bufe, and Winterhalter.

f M o . In his book on the heads schools, Ches neau thus characterizes the ae sthetic s ide ofthe nature of Delacroix : A s trong

B L W M ART 280 EAUTIFU O EN IN .

rs of poetry, rather than of those who pe ist in recording the characteristics of beings and things from the sincere observation of subjects already existing .

Hence , in the vast work of Delacroix,

h of studied portraits are rare , and t ose women are hardly to be found at all . At

S intervals we come upon a happy ketch , showing a particular intensity of thought

of . and life, as that George Sand But

u h even tho gh he was not able, by a eroic ff t e or of the will , to calm the feverish ex altation of art in presence of the living m to odel , and force his impetuous brush portray the charms of the be auties of his time, he loved woman none the less ; and ,

r like a purple ﬂower, she blooms eve y

ia his where rare splendor, in tragic and bloody productions . She is the red water lily of the lake of blood sung of by

Baudelaire . She has the fatal beauty of

m fe the passions fro which the artist suf red, GL D AND ON THE C 28 1 IN EN AN ONTINENT.

and she is, above all , the true heroine of ffe the drama in which she loves, su rs, and

a t dies, the sublime, physical, lmost absolu e, h expression oft ought . There are few artis ts in whose works s o great a unity exists as in those of Dela croix, and yet each one of his heroes and heroines is in a sense a tragic or bewitch t ing materializa ion of the dominant idea.

From this, especially where woman is concerned , proceeds an inﬁnite variety of

a expression , attitudes, char cteristics of m race, for , and color. His Medea, his

Juliet, his Bride of Abydos, his Young

Spartans , his Ophelias, his Salomes, his

é al Sibyls, his Odette , his Ang lique , though all bound together by the idea of sensuality, by a species of mysterious

s t cares , have each a complete individuali y o f physical type and moral character, determined by the philosophy ofthe sub

ect j . W M 28 2 BEAUTIFUL O EN IN ART.

How much loftier and more profound is this conception ofthe rOle ofwoman than that of some other great painters who have only succeeded in exhibiting their chosen models in the most dis similar rOle s l

’ Delacroix s love for woman does n ot appear solely in the powerful fertility of m his poetic i agination , nor in the expres sion of thrilling voluptuousness which he gives to his feminine creations , but also in his journal and in his correspondence . Speaking of a peasant girl he met in the

ﬁ : elds, he wrote to one of his friends

Such pretty eyes, limpid as pearls, and as ﬁ ne and soft as velvet ! The nose was rather original ; the nostrils were proudly m m distended, and vibrated from ti e to ti e in unison with the dilation and contrae tio n of the pupils ofthe eye . The mou th

of was charming elegance . But the tri umph Of the face was its contour. The

284 BEAUTIFUL WOMEN IN ART.

’ one n on an had ha d the child s shoulder, d

r was giving her a lesson in eading. If I ” had a canvas, I would paint them . He found material the next day an d

’ painted the charming picture L Edn cation

de a Vier e was m the r l g . It fro same o mantic retreat that he wrote to one ofhis

“ friends : The women of this region all look like those sweet forms one sees in the pictures of the old mas ters ; they are

all Sai nt Annes .

Although stricken down while young, just as he had escaped from the tyrannical inﬂuence of his two masters Ingres and

a e Chas s é riau Del croix, Th odore remains

I eo ore Chas s ériau as orn in amari a S ani Th d w b S , p s h

a n ie in P aris n e r the titl Ame ric , a d d d in 1856 . U d e of '

ez n tre roman ti ne M. Val rt C evillar h (In p g , be h d as written an e xcellent s tudy on the work ofthe painte r of

' ‘

D es denrone Le Te ida rrn m and ofLes D eter S orters . I , p , n

e - Ar R n a h the Gaz tte de s B earer Arts ( 1898) M. y e y as l u lis e s ome ver ﬁ ne a es on has ria a s o p b h d y p g C s é u. IN GL D AND ON TH E N 28 EN AN CONTINE T. 5 on e of the most distinguished painters of

n th woma of e nineteenth century. Even before the complete emancipa tion of his luminous and tender art, he d succeede , in his religious dualism , in combining with genuine origi nality and marvellous Skill the doctrines of both the classic and the romantic schools . We can not omit to mention that admirable canvas in which he has represented with cons um

’ mate art two sisters who, like Shelley s two enchantresses, appear each one the reﬂection of the other in the mirror of their mutual love . It is a gem of color, drawing, Observation, and also of subdued feeling. We wish and dare to hope that it may L some day be found in the ouvre , in a

w of c n place orthy it. The publi will the be able to look upon one of the glories ofthe French school ofpainting. It will become acquainted, through this splendid B L W M ART 286 EAUTIFU O EN IN .

one m work, with of the strongest and ost

of m n comprehensive painters modern wo a , although feminine portraits are rare in that

OE are work so cruelly broken , where they met with as often in the form of pencil sketches of lifelike precision as in those of ’ masterly paintings . Although Chasseriau inherited the pow e rful of r he psychological drawing Ing es, also possessed the poetic invention of

’ e of u D lacroix, the latter s gift marvello s

i n creative power, and his ardent magi a

w a tion , ith less feverish rdor, however.

In a his v st frescoes , as well as in his pagan and biblical compositions and in

Shak es e rian his p etchings, the image of b woman shines with a resplendent eauty,

1 Among the principal feminine portraits by Chas s é riau we will mention thos e ofthe Comtes s e D es tutt de

Trac Mlle . H ari ette Coo er the M r uis e de B edmar y, p , a q ,

- Mlle . Tallie n Ca arrus the C mt s i b , o e s e de Ranch court, ’ A el e Chas s ériau the artis t s mot er oil- aintin s th d , h ( p g ) , e

Princes s e n a z . B etc. Ca t cu ene, Mme de ray, ( crayons ) .

R 288 BEAUTIFUL WOMEN IN A T.

r n rs the elegant g ace of the E glish maste ,

S O bathed, to speak, in a Venetian light ,

w e co n al ays s rious and devoted ,to truth , tras ts u sing larly with the hollow solemnity,

con the cold correctness, the insipid and ve n tional mannerism of the fashionable

h D ub ufe portraitists Winter alter, , Caba nel , and Chaplin . There are few feminine portraits from which exhale a milder expression of re ﬁ ned grace and ofsubtle charm than from those of Ricard . This comes from the fact that the painter made it his pleasant mission to represent only those model s whose characters we re in perfect harmony

d the of with his art, evoted to truth distinction.

. L u Bré s one his r M o is , of biog aphers , says : Ricard would never consent to

was not c paint a head which sympatheti , n o was oﬁ red matter what price e him . This was not a caprice ; it was rather an ND TH E N 28 IN ENGLAND A ON CONTINE T . 9 evidence of the knowledge the painter had of his own powers and the respect

art e at he bore his . When a subj ct

was n tracted him , it another thi g ; he then invited the model to pose for him ” as a favor . The style of Ricard differs perceptibly in his male and female portraits . Too ofte n his masculine portraits are conceived in

e the manner peculiar to the gr at masters,

a especially Titian and Rembr ndt. At times he evidently had Leonardo da

fe n Vinci in mind , in presence of a mi ine model ; and it has be en justly said : He saw a sister of La Joconde in the beauti ful and chastely fascinating model before him . But even though the magniﬁcent, fathomless eyes of Mme . de Calonne evoked the enigmatical smile of Monna L m t isa, it ust be acknowledged tha the

’ whole personality of the painter s style , in spite of indisputable English and Venetian 2 B L W M IN ART 90 EAUTIFU O EN .

al proclivities, reve ed itself in most of his

of feminine portraits, especially in those

Bl u ill . oc ev e S z arvad Mmes de q , y, Roth ,

Arn avon ra Borel , Feydeau , , Roux, and G n

W he ville (the ife of t English Minister) .

’ T BEAUTIFUL WOMEN IN AR .

Taine also speaks of the perfectly good

m tem ta woman , calm and serious , who p

tion has never approached . This typ e possesses only a secondary aesthetic im

al portance , however, and we prefer to c l the attention of the reader to the modern

the b Imogen , eautiful type of English

m i n s wo an, in whom d stinction, oblene s,

r i ha and acial beauty are un ted , and who ve inspired so many immortal mas terpieces among the painters ofthe eighteenth and

b of the eginning the nineteenth centuries. They are indeed the most beautiful

w n w rf m ﬂo er of the la d , whose s eet pe u e saturates the works ofDante Gabriel Ros s s - s s etti and Burn Jone , tho e devotional

r of itn painte s ideal beauty, those famous f in is l es P re- of Raphaelism , whose names we can only mention in this rapid review f of painters of woman . In s pite o the conventional Quattrocentism of their set

e —n m a u tings, thes last a ed artists re tr ly D O A D ELL A FI ESTRA. ROSS ETT1. LA NN N

296 BEAUTIFUL WOMEN IN ART.

a saints and women of low degree, m rtyrs

b arrn aids and courtesans, even and the

m e a vulgarest wo en of pleasur , h ve been f immortalized by painte rs o all schools . But to our great Millet is reserved the

Of e glory creating a new f minine type , and of b hith erecting upon a mar le pedestal ,

a erto unoccupied, the im ge of the woman of the ﬁelds. And yet, curiously enough ,

of e ﬁ the painter all thos rustic gures , executed with such artistic austerity, whose mobile and simple attitudes har moniz e S O magniﬁcently with all the move

of m ments nature, and which see to emerge from the soil as healthy and vig orous an d as the ﬂowers herbs, began his career by painting love- s cenes of the

’ Prud hon style. Erotic painti ng was not suited to this lover of the sky, woods , and ﬁelds, to the faithful companion of the most loved of women , and he was not long in abandon

B I L W M ART 300 EAUT FU O EN IN .

’ the pink an d pearly whites of his Prud hon d creations, swept with inﬁnite elicacy,

r t the b inging in o existence, in full light

s un of of the summer , poor women the

n n ﬁelds, bendi g over the soil , reaching dow with movements of poetic grandeur to gather up the fragments of the rich har s vest, the grain dropped from the heaf. Portraits of women by Millet are very

r f ra e . Those made o his wife in charcoal

In e pos sess an exquisite charm . the t nder analysis ofcharacter shown by the purity

of o of lines and the suavity the m del , he remembered the lessons ofhis ﬁrst mas — ’ ters , Correggio and Prud hon . He ever sought for the beauty of woman in the whole ﬁgure and in the attitude rathe r ” than in the features of the face. Beauty,

“ s he said , lie in what is suited to the f ” action o the subject .

of ﬁ s o i If his woman the eld is beaut ful , t if under her woollen hood and her dus y, L R P R OF C R ATTE A T NINETEENTH ENTU Y. 30 1 tattered garments she stands out with

the r is such majesty in Open count y , it because the artist has made her harmonize f per ectly with her surroundings, idealized her by the rhythm of her movements and

r m bea ing, and ade her the beautiful and synthetic expression of a vocation . Listen to what he himself said to a

r friend , while crossing the Barbizon p airie at nightfall : See those Objects movin g about over there like shadows ; they bend w do n to the ground as they walk , yet they are human beings . They are the genii of the plain ; yet they are only poor peas

e ants . A woman , doubtless, bent doubl

n or r u der her sheaf of grain, another, d ag

i n e g ng herself alo g und r her load of fagots .

are From the distance , they superb ; see how they steady their shoulders under their heavy burdens . The twilight dims the outlines of their ﬁgures . It is beauti ” fu l l It is as grand as a mystery . 2 B L W M N IN ART 30 EAUTIFU O E .

What an admirable s trophe l And how complete ly the aesthetic ideal of the master

a of reve ls itself in this cry enthusiasm , provoked by the poe try of nature ! By his powerful faculty of generaliza tion , Millet has been able to invest the humble shepherdesses of the forest of Fontai nebleau with the epic grandeur of the gle aners of the Bible ; hence he must

a f m be c lled a great painter O wo an . By

the marvellous prestige of his genius, he has ennobled the poor woman in sabots without in any way detracti ng from her

has rustic individuality, and he given her a place in the heaven of art be s ide the s tartled Cydalis es of Wattea u and the

e z Colinett s of Boucher, somewhat ama ed at the unwonted apparition . While Millet abruptly closed the door of

l s it SO his sou to erotic in pirations , to Open w to of idely the comforting poetry nature ,

Tas s ae rt w , an admirably endo ed artist,

I L W M I T 304 BEAUT FU O EN N AR .

ve a us dias, iled in gold or silver, with gr cio

r ﬁ u feminine fo ms, lling the mysterio s depths of his lands capes with the expres

of o r sion delirious joy, amorous reverie, pleasure .

of s This tender lover the sky, water ,

r u t to e trees, and ﬂowe s o gh by right lov

u woman , the most beautif l ﬂower of that

s h d h va t nature , t at spacious para ise, in whic

was his great poetic soul existed . But it in the form of light sketches that he ex

inde ﬁ nable e pressed the charm, the lith and voluptuous grace of the melancholy

r o amorous Eves of his springlike Edens . His supple and brilliant brush nearly always became harsh and obdura te when he attempted to represent the features of h the living model . It will be observed t at the work of Corot would indeed suffer a cruel mutilation if it were to be reduced to the s eries offeminine portraits which rarely exhibited the essential charm ofhis R LATTER PART OF NINETEENTH CENTU Y. 305 art : the unusual suppleness ofmaterial in the service of intelligent and feeling in

i n of ve nt o . In the work the great artist, woman is the vague and graceful form of a sweet vision, a poetic creation , almost a dream . The name of Diaz should also ﬁgure in this book , although the cool shadows of his forests are even more rarely enlivened by the presence of woman than the golden

r . twilight and silve y dawns of Corot Still , she appears there at times in beautiful

or nudity in his mythological fantasies,

in full of voluptuous seduction her heavy, sumptuous vestments, like those of the

L u a e a Morella and Simonetta of the p st,

f m r l surrounded with oliage or a b e, listen

of W he r ing evidently to words love , hile slender white hand, starred with rings, caresses the ﬁ ne head of a Scotch grey hound : a coquette - theme borrowed from W Boccaccio and atteau, which Monticelli

VOL. I L 20 B W M RT 306 EAUTIFUL O EN IN A . was soon to use again with a formidable orches tration .

of V z In the work Courbet, that elasque ” of the common people , woman , one of the mos t completely developed motifs in the vast re volutionaryprogramme of the painter

of a has e Orn ns, neither the austere b auty

’ ’ of r Co rot s Millet s rustics , the airy g ace of

nymphs, bathers, and coquettes, nor the affected charm of the indolent beauties of

has Diaz . He painted her, as been well

said, with the same conscientiousness that

a e he displ yed in painting oysters, ﬁsh , de r, L and the rocks of the oue. With his soul closed to all conception s

of e r id al beauty, all spiritual poet y, and

e never troubl d by Platonic theories, he was

yet able to prove , by the skilful materiality

s one of his proce ses, that can produce masterpieces under the inspiration of

m D e l d merely visible for s . The mois el es e

Villa e D emois elles des l ords de la g , the

W M IN 308 BEAUTIFUL O EN ART. s ionatel y smitten with nature, like the

s as painter of Ornan , c t themselves with a

r ﬁ of so t of erce heroism , in spite the cruel sarcasm of the feeble classicists and old f s i of ashioned romantici ts, on the s de the ﬁ vigorous struggler, and nally determined m that great naturalistic ovement which ,

’ w e like a torrent, carried a ay the last d bris

n s of the academic and roma tic chools, and

d c fe w destroye , in its irresistible ourse , the fragile and delicate barriers set up against it by the imperfectly armed partisans of a mystic Pre - Raphaelite restoration brough t

n from across the Chan el . After having courageously restrained himself in the too eclectic direction of

Courbet, and escaped from the captivating

a inﬂuence of Velasquez, Goy , and Hals ,

n of his own Ma et ﬁnally found a style , and gave a decided impulse to contem

orane ous . Le D e enner L e p painting fi ,

B alcon A r en tenil Cl e e le bre L atnn ik , g , ﬁ , R P R OF C R 0 LATTE A T NINETEENTH ENTU Y. 3 9

are triumphant manifestations of a ne w

of . art, fruitful professions faith He

a cle ns the palette , invigorates the sensa tions ; his clear perception synthetically embraces both the exterior and the soul ofbei ngs . His swift intuition divines the unseen in passing This brilliant faculty of grasping at the ﬁ rst glance the entire character of a sub

ect ﬁ j , and of xing it with rapidity in a fresh

of harmony clear values , found its most fascinating application in the painting of m n odern woma , blonde and fresh under

s the diaphanous whiteness of airy draperie ,

f of in the ull light heaven , and in the midst ofthe ﬂowers of gardens .

Moriz ot r n f Soon Berthe , y e y mi dful o

c s the tea hings of the master, al o portrayed

r the youthful charms of contempora ies, w m m f but ith a ore timid, ore eminine

e l ad brush ; R noir and Ro l , in mirable

1 Maurice Hamel . I M N 310 BEAUT FUL WO EN I ART.

u of h d b sts women , bat e in light, vibrating

i a w th life, evoked , by the most subtle an l ys e s and the broadest and freest work

n of ma ship, the amorous tenderness fem

air inine charms expanding in the Open ,

“ ” r a of all the palpitating e lity ideal clay. B astien Lepage also proﬁ ted by the dis

ri L cove es . of Manet ike him , he had a passion for light and truth ; but it is e s pecially in his study of details that his remark able powers of analysis exhibit

m r n themselves ost fully. His penet ati g art as a physiognomist resembles that o f the French portraitists of the sixtee n th century. Has he not been called the Clouet of his epoch ? ’ n Pitiless death cut him down , like Ma et,

of n o t in the midst a glorious career, but

h is soon enough , however, to prevent transmitting to posterity some pure mas te r ieces are two e p , among which exquisit

of of . ue t portraits woman , that Mme Dro ,

L N A T 312 BEAUTIFU WOME IN R .

w of shado s or of dark verdure , certain his portraits of women have the appearan ce

ral s of supernatu vi ions of love, of ardent,

L s sad igeias . The e , however, are only

m of exceptional types , and ost the femi nine portraits Of the great artist have an

n otwith individual accent of rare force, standing the atmosphere of melancholy and morbidness in which they are all enveloped, and which has its home in the soul of the painter himself.

of The portrait Mme . Hochon , which

of we reproduce in this work, is one th os e which reﬂect the most credit upon

m s . c the artist It is a most char ing, arti ti , and also characteristic expression of the elegant Frenchwoman of the nineteenth century . The image of woman also occupies an important place in the work of Paul

a s Baudry, although in his feminine portr it the brilliant artist has rarely sought to MAD AME H OC H O . HEB ERT . N

B IF L W M IN A 316 EAUT U O EN RT.

Had Elie Delaunay aﬂixe d his S ignature

r to the admirable po traits of Mme . Ge orges

T ulm che nl h . o ou o e Bizet and Mme y , would thereby have merited a place among the ﬁrst painters of woman of the nineteenth century. In these two ever to be remem

r one b be ed feminine forms, the so super

he r under mourning veil , the other radi

in s ant youth and perfect happines , the

S of personal , vigorous, and imple genius

i s h the art st manife ts itself wit rare power.

tr Bonnat excels in the masculine por ait . His robust brush delights in the re p re

s e ntation of v o f male isages, especially

u those which are f rrowed by time . H e

l fﬁ or r the is a so the o cial , ather historic ,

a of da painter of the great person ges the y . His portraits of Thiers and Léon Cogn ie t

are works of the first order. But the artist has not confined his fi eld ofartistic vision to the contemplation of faces o f

fﬁ S u e re o cial gravity, or of erio sn ss and L R P R OF N R 1 ATTE A T NINETEENTH CE TU Y. 3 7

fl e e ction , such as those of Gr vy, Thiers,

n Car ot, H ugo , Dumas, Gounod, and Pas

ha n te u r. s o He also shown , several occa

e sions, that he was, in the pres nce of a

ab le feminine model , to relax and change the brus que and often violent strokes of his virile brush into a soft and prolonged care ss .

f a t o . His portrai s Mme Past , the Coun tess Potocka, Mme. A . Cahen , Mlle . ' d H aus s on ville , and others , are very noble and delightful feminine images, the living indi viduality of which has s uffered from n o tricks of workmanship or caprices of interpretation . Paul Dubois and Jule s Lefevre have both produced very interes ting representations of h t eir beautiful contemporaries , although very diﬁ e re n tly express ed ; both in the richly modelled forms of the ﬁrst, and the

ﬁ ne l n ana yses of the seco d , the individual ity of the models is well prese rved . 18 B U I L W M N ART 3 EA T FU O E IN .

It has been said with much jus tice that the virtuosity of Carolus - Duran was not

. s very profound But in art, as in all el e, each one is in a measure the slave of his temperament ; and if the author of the

F emme a n an t superb portrait of the g , of

L in the uxembourg Museum , did not ﬁnd

m of his cradle, in the idst so many other

s gifts, that of the per evering patience of

s or of ouc ue t Pi anello F q , it must be recog n iz ed that he is rich to excess in other qualities which make of him one of the

a re rarest interpreters of woman . His pp ciation ofworldly elegance is of the liveli d est, and rarely has a painter rendere the evanescent grace of expression and gestures

n with more insti ctive skill . The art of Be njamin Constant becomes daily more and more Western ; and since m the ti e when he forsook, apparently, the brunette beauties of antique Byzantium

of and Morocco harems, the list noble and

L M 320 BEAUTIFU WO EN IN ART. of ma d wo n, although neither have attempte

s o n e the portrait except in rare ca es. No was ever more appreciative of feminine

a e o ne in be uty than th se two artists, the his idyllic and pagan creations of luminous white bodies gle ami ng through the nigh t

e s ts e of for , the other in s rious but beauti ful paintings of the daughters of the sea and of the ﬁelds .

a e s And how m ny oth r brilliant arti ts, more attracted by a very modern ideal and the elegance of social life than by

e s al all gorical and ru tic beauty , have ready brought a rich addi tion of charming works to the collecti on of the images of the woman of the nineteenth century ! Lack of space forbids us to do more than me n tion some of them in an incom

n : ple te a d somewhat international list M .

Madraz z o e , a Spanish painter of the b au

of tiful women his day, Parisian and Span ish , has ever been more attentive to the L R P R OF N N R 2 ATTE A T INETEE TH CENTU Y. 3 1 counsels of Carolus- Duran than to the

r maste s of his own country. Francois Flame ng has treated all genres

: e with success decorative all gory, battle m scenes, historical co positions . But who can tell whether it will not be in some of his feminine portraits that the ﬂower of his genius will immortalize itself ? The most lasting works are usually the deli cate representations of the most ephe m eral charms . Boldini excels in embodying in a draw ing as rapid and synthetic as that of

Outamaro , and as keen and unerring as

r s ﬁ ne that of Ing e and Menzel , the , ner vous charms and the often perverted ele

of gance his contemporaries. E mile Wauters, the author of many a s r ri tocratic port aits of women , is more

of Parisian than Fleming, in spite his glorious forefathers . Antonio de la Gan

a a Madraz z o d r , a Spaniard like , is less 2 2 B EA I L W M N IN ART 3 UT FU O E . rebellious than the latte r to the teachings

s v of Vela quez and Goya, of which he ne er

s n e lo es sight, notwithstanding the da g r ous suggestions of Whistler. J acques Blanche has also submitte d to

who has for inﬂuences ; and not, that

e ? e matt r Was not the art of R ynolds,

s we in so kilfully bre d , reality a harmoni ous a? la s auce a n lais e combination , g of

h t ra t a of Titian , Remb ndt, and Van Dyck ?

ma s a the a We y y of art of M . Bl nche that it is of incontestable sincerity in its n l re ervous susceptibility, and the on y proach that can be made to this charmi n g

a n w p i ter, hose personality is made more

e evid nt daily, is that he has paused too long in his adoration of the masters so dear to him . The face of modern woman appears

G e rve x very often in the work of , at times with a very charming brilliancy ofcolor

2 B L W M ART 3 4 EAUTIFU O EN IN .

in this volume among those of painters of women ? It is certain that this inquisi

in tive artist, ever quest of fresh impres

of r sions, under all the skies the unive s e , has devoted more hours of his life to the

a - - interpret tion of sporting scenes , war pic

b ullﬁ hts h of th tures, and g than to t at e beauty of his contemporaries an d the fem

e hi inine el gances of s epoch . But by their

ac r r s of exquisite gr e , the too are port ait

women he has left us, prove conclusively

he d that is, when in the moo , a portraitist t of genius, and that he has por rayed with rare skill the dainty charms of a young girl in the airy transparency of a gauzy ball

the of t gown , and nervous elegance pret y

on ed horsewomen mounted thoroughbr s.

e u The name of Mlle . N lie Jacq emart ,

S m which igns so e excellent portraits , arouses regrets in all lovers of art that

of m this remarkable painter, one the ost

of has gifted portraitists the century, L T R P R OF N C R 2 A TE A T NINETEE TH ENTU Y. 3 5

to ceased represent her contemporaries , m f m t both ale and emale, for the ad ira ion

r of future gene ations .

M . Humbert, on the contrary, has come to no such decision . For this we can but

n r rejoice, as his i defatigable indust y gives us occasion to admire each year in the

n of Salon charmi g portraits women, always

n executed in a clear and disti guished style. This artist has sens ibly modiﬁe d his style duri ng the last few years ; his palette has

t u has brigh ened , his to ch grown fresher an d h rs more luminous . Anot er conve ion ,

h to V ! t anks elasquez , Manet, and Whistler

rs Z Ande orn , a skilful painter and an

n hs etcher of ge ius, who came from the dept

his a of Dalecarli n forests, where as a boy he e t nded the ﬂocks, into the most reﬁned

Parisian surroundings, has been able to portray in swift, unerring, and precise strokes the grace and elegance with which

was E elfelt he s carcely familiar. d and B L W M N IN 326 EAUTIFU O E ART.

K ro e r r y , Scandinavians also, excel in po traying the blonde beauty and tender grace of the women of the North . Raphael Collin is a sympathetic painter

a r of young, gr ceful forms in sp inglike set ti ngs . Georges Clairin by turns interprets the dainty graces of Parisian beauties and the disquieting attractions of the women ofthe Orient . The keen eye of Marcel Bas che t at once grasps the most ﬂeeting

S of r his hades color and exp ession, and sure and vigorous brush becomes pliable

r when he port ays femi nine beauty. Ary

a Ren n , a soft and subdued colorist, is a painter of woman in her most modest and

‘ tender aspect. In his ideal of art, his

ﬁ s re ned formula of expression , he belong to the same lofty race as Théodore Chas s é riau Puvis Cha , Gustave Moreau, and de

a n al v n es , those immort delineators of forms

of D ub ufe and souls. Guillaume suc

o ﬁx n c eds at times in i g upon his canvas,

B L WOM ART 328 EAUTIFU EN IN .

From the midst ofall the painters ofthe modern woman the ﬁgure of Albe rt Bes nard stands out with an authority which

a l . oi increases d ily Whether he takes ,

a or e p stel, in which he is past master, tch ing, as his medium of expression, he always triumphs in an execution of great origi nality and of a striking and apparently

rf ﬁ n instinctive maste ulness . For this e

us painter, whose bold and skilful br h ff ﬁnds in crayon such an e ective auxiliary,

n le for this ge erous interpreter of amp ,

a free , and ardent gr ce , each of the Ex positions in which his feminine portraits

the h r appear is occasion of a fres victo y , even when his unerring and brilliant fancy deligh ts in seeking out the most para dox ical in nature and the most ex cep

n tional in real ity . The open si cerity of his superior art, vibrating as it does with the unexpected and with acute sensibility,

a h has at l s t won over t e most obstinate . L R P R OF N N C R 2 ATTE A T NI ETEE TH ENTU Y. 3 9

in his e It is, perhaps, xquisite and vibrant pain tings ofthe slender A rabian woman

- w with blood red lips, of his bro n Anda lusians with ardent eyes, of his Western beauties with snowy, pearly ﬂesh , so fresh i and lifelike , that his irresist ble art has

r triumphed over his last opponent. He e again woman has conquered .

In the distant future , on looking over

s r the collection of dry point , brilliant c ayon sketches, and clear and dainty pastels of

H elle u be Paul , the beholder will able to form a correct idea of the fashionable woman of the end of the nineteenth cen

r let tu y and the beginning of the twentieth ,

H elle u us hope, as is still young, and doubt less will contin ue for years to come to adorn Copper plaques and thin tablets with ﬁ t delightful gures, executed wi h a single

to s stroke of the brush , so peak, with an astonishing correctness of drawing and an acute and strong precision . He rarely re 0 B I L W M ART 33 EAUT FU O EN IN .

d quires a conventional pose from his mo el, in which he deems the character nearly always disappears .

His inspiring subject, whose haunting charm seems to ever pursue his artistic

n imagination , is the elegant, reﬁned woma

n of high birth and breeding, with golde

of hair, a white, ﬂexible neck, and a toilet irreproachable design and subdued tints, i who passes through life with l ght disdain . We may say of the exquisite talent of H elle u what the G oncourts said of Wat

“ r in art teau , his glo ious ancestor It is a subtle thing, the smile of line we may h say, the soul of form , the spiritual p ysi o nom g y of material , all the seductive charms of woman in repose ; the lan

uor no n g , the idleness, the abandon, the

a e of re ch lan e , the harmony poses, the p tty aspect of bent proﬁles, the curves of

ﬁ on ﬁgures, the play of long ngers the f ” handles o fans .

2 B L W M IN R 33 EAUTIFU O EN A T.

f Ro o s . nr conceived by p , says M He y

D e touche rt has , who with an expe pen closely analyzed the life and work of the “ t artist, is the woman whose nudi y is relieved by minor details of toilet . In t ancient imes , nudity was the natural

one state . It has become the accidental

our w s in day, ith the accretions of Chri

tianit . y and Protestantism Now Rop, too enamored of absolute beauty to de . prive himself of taking artistic possession of has woman in her entirety, taken

h n s counsel wit moder ism, and it is thi fascinating mingling of the anc ient and

of e modern , nudity veiled her and there

s the by le ser details of toilet, that charac ” te riz es the work of the delightful artist. During a recent visit to the Royal

of L con Academy ondon, we could not ceal our surprise at seeing so few portraits of of of woman, nearly all which were c m i t s of o monplace nterpre ation . Portrait L R P R OF E N C R ATTE A T NINET E TH ENTU Y. 333 me n u , on the contrary, were very n merous, Of several them being remarkable . There were magistrates with severe visages, soldiers with harshly accentuated

- features, gentlemen farmers , with irre

roachable in s i p boots and aristocratic, g n iﬁ can t e f atures. Still dazzled from a marvellous art pilgrimage among the public and private collections of Great

t m of Bri ain , in which the sovereign ajesty the genius ofthe English painters of the eighteenth and the beginning of the ni n e tee n th centuries shines with such brilliancy in never to be forgotten feminine forms, we reﬂected on the profound abyss sepa rating the artistic ideal of the noted

English painters of to - day from that of

o Law Reynolds, Gainsb rough , Romney,

H O ner a rence, pp , R eburn , and so many others . One wonders by what mystery of ae s thetic evolution the E nglis h school has L W M ART 334 BEAUTIFU O EN IN . been modiﬁed to that point that one seeks

in e r in vain the entire kingdom , except p

Raeb um haps in Scotland , the land of (in which one sees premonitory indications of

of r a fresh blossoming painte s of women), for an artist who could, like Gainsborough , portray the queenly grace ofa Duchess of

m of r Clarence , the char ing features a Ma y

the n Robinson , or, like Romney, distracti g

of a n beauty an Emma Hamilton , or ag i ,

L a of like awrence, the ristocratic charm

L red car a ady Dower, or the and white

Mrs . n ation of a Cuthbert.

011? da l as the And yet, in y as wel in

t e s pas , there are in England royal b autie

m b ut and superb odels, whose luminous ephemeral splendor makes us regret still more keenly the abs enc e of painters capa

r li in ble of immo m z g it.

too how We should not be sweeping,

in x ever, our assertions, and an e amination

the d s M is o of pro uction of illa , the auth r

LA R P R OF TTE A T NINETEENTH CENTURY. 337 of the portrait of the beautiful Duchess of

W L of estminster, of eighton , and Watts, L the painter of ove and Death , reveals some gracious feminine images ; while with her

ﬁ ne n crayon , discerni g as that of Bellini

r and tender as the b ush of Burne ones , the Marchioness of Granby ﬁxes for pos te rity not only the visages of the great men of her country, but also those of the most beautiful and distinguished of her countrywomen . While the art of feminine portraiture is passing through a pe riod of evident decay ﬁ in England, it nds very remarkable rep res e ntatives in the persons of American artists of interesting originality and mod

inde e nd ern tendencies , sustained by the p

r c ent espect of Velasquez, Van Dy k , and

h e Gainsboroug . In m ntioning Whistler,

D annat a Sargent, , John Alex nder, Mary

a we to C ssat, and Shannon , refer only those whose genius has been established — VOL. 11. 22 L W 338 BEAUTIFU OMEN IN ART.

a l e triumph ntly, and we dep or the necessity which prevents us from enlarging upon the

s o al individual work , already remarkable though incompleted , of these subtle paint ers of woman .

r During the entire nineteenth centu y, the feminine ﬁ gure has had as brillian t expositors among sculptors as among paint e rs . Without mentioning Houdon (1740

r the sculptor of beauty, g ace , and

e expr ssion , and the immortal author of the

D iane n ae F rile us e , the , and the supe rb

of bust Sophie Arnould , without speaking of the Italian Canova 1 and the Danish

uncon Thorwaldsen, archaic imitators and

of V s scious counterfeiters enuses, Hebe ,

m tholo Eurydices, Psyches, and other y g

s ical creations, there are numerou sculptors

1 The clas s ic reminis cences of Canova manifes te d thems elves at times un der very modern appe arances ; as en he re res ente P auline B or es as Vi wh p d gh e Venus ctri x ,

Mari - i erre la C n e Lou s e as P i de o corde, etc.

LATTER PART OF NINETEENTH CENTURY . 34 1 of great talents who have successfully sought, in allegory, in symbol , or in reality, to represent woman in her most varied aspects .

In fact, there has been no epoch in which the beauty of woman has been more nobly celebrated in the whiteness of mar

r w ble , and with mo e po er and love , than this h nineteenth century, whic has produced

“ ” Pradier, that Pompeian Pompadour ;

’ d An e rs Bosio ; David g , the sympathetic author ofthe j enneﬁ lle g recque an toméean de B oz z aris , and of so many other delicate

in feminine proﬁles ; Rude, who with

in or comparable genius, his formidable

r a g acious feminine allegories, expresses p triotic exaltation and the sadness of love ;

Préault cu , who with such feeling art exe ted the statue of Ophelia and of Grief ; Main

of Velé da é dron, the author the ; Aim t M illet, who has left us his beau iful

A riane r who ; Ca peaux, in his Floras and W N ART 342 BEAUTIFUL OMEN I . dans eus es the , has expressed in marble

n of n intoxicatio of the soul , the smile se su

Clés in er ality, the delirium of pleasure g , whose Cleopatra and Femme cone/lie are models of elegance of form and ofvolup

n r tuo s grace ; Paul Dubois, both a sculpto

Ve rocchio e and a painter, like , and whos

' images of F oi and C/z arz té of the Cathe

’ ’ ean ne d Arc L A l race ofla dral of Nantes, j , L orraine of the Salon of1899 are master

m e who pieces of art and senti ent ; Merci ,

A l sace of Gloria Victis executed the the ,

anon vaincue f in and j , master ul works

r diﬁ ere n t h their ve y expressions, and whic alone would s uﬂice to cover the artist with

Fal uiEre glory ; g , who , of all modern sculp

of the tors , is one those who has succeeded best in transferring to the whiteness of marble the palpitating life of feminine

s u ﬂesh ; Chapu , who e delicate chisel sc lp tured the j eunes s e of the monument of

i Frémiet w e Henr Regnault ; , hos charming

344 BEAUTIFUL WOMEN IN ART. feminine image an equally triumphant oc

r ‘ casion fo m anifesting itself. Certain images ofwomen by these two

s Bibe sco great artist , those of Princess and

of . w l Mlle Taine among others, i l transmit to the most distant posterity the features and the mental characteristics of the

n of r n woma the nineteenth centu y, whe perchance the fragile painted efﬁgies will

r have disappeared fo ever, like the charm ing models whose forms people this vol

now a ume , and whose beauty is only a radiant nd melancholy remembrance.

1 ’ Rea es midarllenrs n ais b Ro er Marx . d L ﬁ a c , y g

Lahure iteur. ( . éd ) I N D E X E S .

F B 348 INDEx O S U JECTS.

SUB JE CT fo M Beau y , rs . rte s e de B eauharnais , Ho n Ml iana B eau olais l e . de as D j , ( ) um n t Lad B ea o , y Bedmar Mar uis e de , q B elisarius

Behsarius

elle rde omtess e de as R e rs i B ga , C ( lia m L’Enlévement des Sabina ) David B énédicrté Chardin m ee olin B ernadotte M e . s lar ar e . , C y, C rn rdt Sarah Le a e 11 Be ha , p g 3 Berr D uches s e de Vi ée Le run 116 y, g b Berr D uchess e de La ren ce 2 6 y, w 4 Bertin Ingres 2 75 ibes co Princes s ha lain B , C p 344 Mme Geor elaun 16 B i et . es D a z , g y 3 m 2 0 B locquevill e, M e. de Rimrd e 9 Bhicher Lawrence 345 Blue Bo The Gams bomu h y , g 156

ona rte Mme . Luci n ros B pa , e G 22 1 Mm Borel e . 2 , 9° Bor hes e Pauline as enus Vic g , ( V trIx anova n t ) C 94, 338 ( o e ) Bor hes Pauline avid g e , . D 120 u her Mme a v tal vir n R ux Bo c . as es i ao , ( g ) 9

B ra Mme . de Chassé riau 2 6 y , 8 (note ) B reakfas t on the Lawn Goya 26 4 B rébis herie La M let C , al 194 B ride ofAbydos D elacroix 28 1 B rion ne omte de N tti , C a er 10 B ro lie Princess e de g , Ingres 2 74 B rutus D avid 117 B r ce Marc Mundo Li utenant y , e

olonel - C . 2 59 26 0 B uccleu h D uches s of g , 26 3 B uﬂon 4 1 B ull- Fight 26 5 B urea u Mlle Mme Bouch , . ( . er) 5 1

C AG E La a and n ote , 4 ( ) INDEx OF S B C S U JE T . 349

SUEJe c'r

alonne Mme . de C ,

am r o Mlle. C a g , am b ell Lord Archiln ld C p , Canning antacu ene P rinces s C z , Caprices Carnival Procession

arton Mlle . as a naiad C , ( ) Cas tlereagh ath ri n Em ress C e e, p Catherine de Sienne (as Dido) a la ountes s of C y , C 233

hal rin Mme . 11 - 11 C g , 8 9, 204, 208 ’ h e hataille d E lau Le C amp d y , 220 Chapee n de poi! 114 Charité 342

Charles X . 100 (note) harl C es X. 226 l Char es X . 246 hartres D uchess e de C , 51 Chass ériau Adéle , 286 (note) Mme d as Mrnerva hate auroux . e C , ( ) 10

u Mme. de as Da n Chﬁtea roux, ( w ) 12 Cherubini 3 75 r Lathuile Che z le pe e . 308 “ ” h latier La Belle har C oco e, (C lotte Baldauf) holm nd le arriet C o e y, H uches s of Clarence, D lar aroline C y, C Cleopatra le rmont omte de C , C

lermon t Mlle . de as a s ultana C , ( ) Co niet L on g , é ’ Collot d Herbois lom e La Co b , ﬁ n d cm“, P m e e e Conversation dans un pm oo er Hariette C p , er Lad COOp , y Mm i . COp a, e e 0 INDEx OF S B T 35 U JEC S .

SUBJEC T Corth harlotte y, C Cores us and Callirrhoe oria Loren a C , z ornelia s ee Lecouvre ur Adrienne C ; , Couthon

rok er Miss La ren C , w ce C ro mwell D iss olving Parliament Wes t ruche ee ss ée La Gre uz e C , C uis rniere La hardin , C uth ert Mrs La rence C b , . w ’ C there s ee Em ar uement our l lle de C th r y ; b q p y e e.

D AME AU S INGE NOIR Carriera (Rosalba)

Dance on the Bank of the Manga nares

Dav Sir um hre y , H p y D eath ofNels on D eath on a Pale Hors e Dées s e de la Concorde (Marie Louis e ) Canova D e euner Le j , D emois elles dee bords de la S eine D emois e lles de Village D erniers Moments de Le pelletier Les

D es demona

es m ulin L e D o s , ucil tutt Tr m Des de ac o tesse . y , C

D evau e Mme . e y , D evons hire eor iana Duches s of , G g , iana Mme D u arr D ( . b y) D iana Mme D u a ( . b rry) D iane nu bain D iderot

D o - F r ht The ains orou h g g , G b g

D orse t Mlle . Vi ée Le run , g b D o er Lad La ren w , y w ce D riedres te in ountes s of Vi ée L run , C g e b u Mm D ro et e . L , e page Mm D u arr e . P a ou b y, j rr Mme D u a . b y , Lemoine

2 NDEX r B 35 I o SU JECTS .

Sc am AL I ‘I'ZI s s s Bo r G NB , F arn e e s

Garrick (as Richard Il l . ) Garrick 8 0 hi Gay , p e .

r t Gers aint ; s ee Atelie de Gersain .

God in Mm s ee Wolls tonecra t w , ; f , Golden Staircas e or e La G g , Gounod ouvernante La G ,

r nvill Mm a e e. G , r l w G as sa k o ich, P rincess Gras s ini (j os ephine) G révy

Grief Gris ette ui m E llau e . G , G uimard Marie- Madeleine ) G ui mard ( Marie Madeleine) Guizot

' H ALLn r Mrs . , 16 5 amilton Lad Emma Lon H , y ( y ) 1 13

amilton Lad Emma L on 180 18 - 186 H , y ( y ) , 5 , 334

amilton d E m n - La m a L o . 1 1 H , y ( y ) 8 185 m t a il on Mrs . 26 H , 3 amilton Sir William 1 H , 49 ’ Harlot s Progres s 139 (note ) H arves t a6 s

- H audebourt Les ot M . 3 c , me 74 on vill M Haus s e, me . 3 74 ’ auss onville Mme H , . d Ha a tain Ro ert 2 0 y , C p b 6 H eatﬁeld Lord 1 , 49

enri tte Mm . Fi H e , e (as re )

o hon Mme . 13 H c , 3 o arth i e of 1 note H g , w f 39 ( ) o art h s is ter of 1 H g , 39 mm) D X OF S B C IN E U JE TS.

S vs yncr Ann a? rth William o th Hoga , H gar oratii th ofthe Sen nen t des or H , Oa see H aces . H ugo Bonnat unt r ohn R nolds H e , J ey

n s Mme . I c nn , ’ n n m l ur i noce ce a he eus e, L Inquis ition

' ac us r Mu m- Car us ruun J o , ’ j eanne d Arc Jeanne d’ Arc j eanne d’ Arc ers e ountess of J y, C Jeune ﬁlle grecque au tomb es u de Botz aris Jeunes s e (monument of Henri

Regnault) . u n ri Thes j oq a de Chaumo t,Ma e is e s e hine Em res s Jo p , p os e hin e Em res s J p , p os e hin e Em res s j p , p

ous n t Mlle . as Diana J e , ( ) j uliet J unon Vaincue Mercie

2 K aurru a n n , Anc m ca 1 6

Lan v o r r u n D uns t an Faun a! Rachun Lady in White Raeb um Lavois i r Mme David e , . Lea M1s s O en f, w Le run Mme i es Vi ée Lebrun b , . V g g Lecouvreur Adrie nne as ornelia Co el . ( C ) yp L tur d la B i l re uz e ec e e b e , La G r e z i s k Lecz inska, Marie ; see Ma ie L c n a .

h wm ce s 0 Owen leti Las t o rniers Lepel er, moments f; s ee De Moments de Le titia Mme érard , . G ’ Liberté renversant l hydre de la ’ ni n m e, La 0 s e s Prud ho s s s 0 s 0 D X or S B T 354 IN E U JEC S .

Sna e r Li on r rd g ie , Lo Liseus e Lomellini Family Louis XV

Louis XVI . Leone Leoni ' Lo i uis XVI. V gée Lebrun i i Lou s XVIII . V ges Lebrun

Louis I I Ge . XV I . rard m Lo uis de B our on s ee ler ont mte de . b , C , Co Louis e Elisa eth Mm s N ti b , e . (a Earth) at er Love and D eath Watts

L on Emma m y , ; see Ha il ton, Lady .

MAC- NAB SIR A A Raebum , LL N

Ma - r M c No ton rs . ,

Mad- Hous es

Ma a La . j , rn ll La Mal ediction pate e e, M M r th of see Mort de arat . a at, Dea ; u Maria Luisa, Q een Liotard 135

i Prin s . o ner 2 Mar a, ce s H pp 56 e lotilde ueen oi Marie Adelaid C , Q S ardinia D rouais 100 (note)

- Vi ée L brun 102 1 0 - 11 Marie Antoinette g e , 04, 1 6 1 113

Marie - Antoinette Wes tmuller 102

- 102 10 Marie Antoinette , 3

- Marie- Antoin ette Saint Aubin 102

Marie- Antoinette Janinet 102 Marie Antoinett e Cochin 1oa

Marie - An toinette Moreau le Jeune 102 Marie Antoinette Sauvage 102

Marie - Antoinette

- Marie - Antoinette Dumont 103 103

Marie - Antoinette P rieur 103

v - 1 Marie - Antoinette Da id 103 04 (and note) viv 0 Marie- Antoin ette D u ier 1 4 2 1 0 Marie- An toinette Nini 1 9, 3 Marie Lecz ins ka Tocqué 77 Marie Lecz inska

DE r 356 Iu x o S UBJECTS.

Soa cr PA“ ea ’ Orl ns , Duc d rvilli rs Mm d’ O e , e . Oxfor ounts : of d, C

PAnAs t an Mm 11 note , e. de . ( ) ’ Pan s and Helen ; s ee Amours de Paris et d Helene. - M Parma u hes s bi see Louise Elisa eth me . , D c ; b , Pars ons Na , ncy t Pas a, Mme. Pas teur

P a d ill Mm n e Saint ea e . é , Pes tiféres de aﬁ a Les j , Philis

Pi tt, William Pitt W , illiam

Pius VI .

Pla M ce, me .

Poli nac Mme . d g , e Pom ad ur Mm p o , e . de

om adour Mme . e P p , d Pom dour Mm de pa , e . Pom a ur Mm de p do , e

P om a our Mme. de p d , Portrait ofa Woman

Portrait ofTwo S is ters

P otocka ountes s , C P otocka oun tes s Bonnat , C . re vos t Mlle s a Pri f P , . (a es tess o

Bacchus ) . r s on P oce s i , La rus s K in f P ia, g o P russ ia K , ing of Ps yche

Q ui Tno re u s n As s n MAL Br e am-r Mallet

uinault Mlle. Q , (as Amphitrite )

' R Au c mcou n r omte ss e de Chn s én au 286 note , C ( ) v m do use in Ra n al M e. as the M y e , ( the portrait ofCherubini) Ingres 2 75

m D aV1d 120 1 20 208- 2 10 Récamier, M e. , 99, 4, D X or S B C S IN E U JE T . 35 7

Sume'r Anu s -r P acs

Réeamier Mme. Gerard 1 33 33 3 3 3 , 99, 5, 9, 3 , 36

Mm Mo - Recamier e. rin , 199 z oo ' Re ent the see Orleans Phili e Du d g , ; , pp , c . ’ R nault de Saint- ean d An el eg j g y , Comtes se de Reichs tadt, D uc Ro M ri Reine 1 la s e, La ( a e Antoinette)

Re1set , Mme . Re s v a eo L pa ill g is , e R i S uz nne arente de la eyn ére , a J

R mere Mlle . de la ey , h m n Mm R1c e o d, e. de v In res Ri iere, Mme . g Ro inson Mar b , y

h Mm . Raoul Roc ette , e n Mme Rola d, . Rosa Triplex

Roth , Mme. Ro usseau

ux Mm Ro , e . Rumilles Mar uise de , q

SAs nAN Mar uis e de as enus of , q ( V Amathus ) Vanloo

Sacriﬁce de la rose , Le Sa n D u s e de ga , ches

Smu t- j us t S allé

Salome

S aul

S a n xe, Pri cess e de Sax M h l e , ars a Schmnborn oun tes s of , C S chwartz e nb er Prin s of g, m s S o t M c t , rs . R .

Scott, Walter

Senones , Mme . de S e riz iat Mm . , e ' S erme nt d amour, Le S rm t e en des Horaces, Le B 358 INDEX or SU JECTS .

s irs Ar ms -r PAGE Serment do j eu de Paume Sh el d 16 efﬁ d, La y 7 x Sheridan, Mrs . SS Sibyl Delacroix 281

- Siddons Mrs . Gains orou h 16 16 1 2 , b g 7, 9 75, 55 M 3 S iddons rs . , —55 S iddo Mrs . Ho ner 3 3 ns , pp 55 56 M i L run 1 Simiane me . de . es e 1 , V g b 3 Smi H ner 3 6 th . opp 5 S r tes Death f s Mort de te oc a , o ; ee Socra . So hi rin es s H ner 2 6 p a, P c opp 5 Sorc de Thelus son M r uise d D avid 3 0 y , a q e 4 t S ou hwell, Richard Holb ein 40 S ns Na l pe , thanie Watteau

Stael m . de , M e ' S toﬂ els en drick e , H j

S ureda, Schora

S varz ins ka ountes s . , C S eden ue n of l r Carolin e see a e. w , Q ; C y, Swin g Goya

S lvia Mlle . as Tha y , ( lia)

S z arvady, Mme .

TAm Mll E, e . Roty Tal le yrand Gerard Mm d Talle rand e . e i es Le run y , V g b M Talle rand me. de e y , G rard T llien Mme a , . Gerard Tallica Mme , . Isabey

- Tallien a arrus Mlle . h éri u C b , C ass a

Tennis- ourt Oath ofthe s ee Sermen t du n de Paume C , Je .

Theres a, Sain t Thie rs Bonnat

Tie k ell Mrs . ains orou h , G b g Tiran a, La Goya Toilette de la mari e La l t é , Mal e Toilet d Matin La te u ,

Toulmouche, Mme

IN DEX OF A RTISTS .

AD AM 13 amille , 0 C , 343 Alm er o‘m analetto 13 r J 1 337 C , 4 Alle rain 103 anova 8 note g , 97, C , 94, 33 (and ) ’ An ers David d 1 arles g , , 34 C , 343

Au ert 121 ar er-u l - 3 b , C p . 34 34 Aved 6 arriera Rosa La , C , ( Ros alba), l 24

arrier- Belleus e C , 343 B An nrAs arriere E u ene , 343 C , g , 319 Basche Marcel 36 as s at M31 t, , 3 C , 7 : 337 . B audoin 2 6 2 0 ha lain - , 3 , . 7 C p , 343 344 Baudr Paul ha lin 2 y , , C p , 88 B ellini ha u 2 , 337 C p , 34

B es nard Al ert 23- 3 hardin - 3 , b , 3 3 9 C , 39, 55 6 0 55 B es nard harlotte , C , 343 Bilco q . x93 B lanche ac na 3, , l u ; 3 B loche Chéret 2 . 343 , 3 7 8 0m " 1 lairin eor es 26 ) “ 331 95 C , G g , 3 B oldin i 3 1 laudel , 3 C , 343 B onin t n 1 0 l‘s in er g o , 4 C g , 343

B on nat 1 - 1 Clodion 120 , 3 6 3 7 , Bo uet 16 Clouet l 68 26 3 q , r 1 91 75 B orione 11 ochin 3 103 121 3 , 3 C , 3 , , , 36 Bos io 122 ollin Ra hael 26 , C , p , 3

Boucher - ” ‘ ons ta le 1 0 1 1 8- 1 , 49 55. 56 » 57» v C b , 4 , 57, 5 59

3 6 onstant B en amin 83 1 5 C , j , 31 3 9

urd l e o le 188- 1 0 Bo e l , 343 C p y, 9 B reton ules ordonnier ) J : C , 343

B um - nes 1 0 3 3- 2 ON 0 - 0 J o , 4 . 9 95. 335 C S 3 3 3 5 orre io 1 0 C gg . 75, 30 , w Richard 1 Cos ay , , 88

CABANs L our et 06 - 08 , 388 C b , 3 3 n Caﬁ eri, 13a Couta , 343 INDEX OF ARTISTS.

Antoine 2 30 3 Coypel, , , 3, , 3, F errari 191 . 343 - as s eau F ix M , 343 F lamen F ran ois 2 1 me 1 0 g, c , 3 Cro , 4 H 3 6 3 8 11 Flandrin , . , 7 , 7 , 3 o uet 1 F ucq , 3 8 D AG A 3 N N 3 3 rd onor 1 6 - 13 1 Fragona , H é, , 7 75, , alou D , 343 336 n t Dan a , 7 33 F r mi t 2- é e , 34 343 rinces s e D auphines s see Sax e, P F li - 1 use , 175 77 de

David 10 - 10 116 - 130 131 , 94, 3 4, , ,

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