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A Wealth of Portraits a Wealth of Portraits Volume XVIII, Number 1 Winter 2000 NEW ACQUISITIONS ENRICH THE HOLDINGS Creole Children by François Bernard, 1872 (1999.91.1) A Wealth of Portraits A Wealth of Portraits hree recently acquired paint- ings from the 18th- and 19th-centuries not only add to the history of New TOrleans, but they also reveal the status, Mme Furcy Verret, née Elmire character, and personality of important Olivier de Vezin by Louis Antoine residents from the colonial period Collas, 1822 (1991.91.2) through Reconstruction. José Francisco Xavier de Salazar y Mendoza (mid- 1770s-1802) paints a double portrait of a military officer and his son; Louis Antoine Collas (1775-1856) It’s a rare occasion when the fall yields such Mexican-born Salazar — found customers gives us a formal portrait of a woman; a rich harvest: three major portraits to add who were eager to preserve themselves and François Bernard (b. ca. 1812) to the Collection’s holdings. Old portraits through art. Paint and canvas would portrays a group of children in an — glimpses into another era — provide endure, but life was chancy. interior setting. the opportunity to encounter a number of Salazar settled in New Orleans in the Salazar, the earliest known painter 18th- and 19th-century inhabitants late 18th century and remained in the city to come to prominence in New Orleans of New Orleans. Time is held at bay. until his death in 1802. Collas, born in during the Spanish colonial period, por- The demeanor of the subjects, their clothes France, was a traveling artist who lived trayed Julien Vienne and his son Julien and hairstyles, are rendered with painterly briefly in New Orleans, returning periodically George Vienne about 1796. The portrait precision and invite an intimate look to paint portraits. Another Frenchman, is one of few known paintings of this at history. Bernard, painted portraits on a grand scale, period to include a child with a military Captain Julien Vienne, whose portrait as well as genre scenes and landscapes. subject. Vienne, who was born in is attributed to José Francisco Xavier de The portrait artist, interpreting the Normandy in 1755, served as captain in Salazar y Mendoza, lived at a time when face of the sitter — and his expectations — the New Orleans Artillery Militia and the colonial city was in Spanish hands and makes the past immediate. Poet and critic fought in the 1779 Gálvez expedition. recovering from a devastating fire. A plump Zbigniew Herbert, writing of another Governor Gálvez commended him to Mme Verret, painted by Louis Antoine artistic group — these were 17th-century the Spanish court for his valor in the Collas, proudly wears a fine dress of 1822, Dutch painters — comments that “their Baton Rouge campaign, an action that accented with lace. François Bernard’s Creole role in society and place on earth were not “resulted in the acquisition of 430 children are posing momentarily and will questioned, their profession universally rec- leagues of the best land, of the most fer- soon be amusing themselves with tops and ognized and as evident as the profession of tile and richest of the Mississippi.” In dolls and playthings in the year 1872. The butcher, tailor, or baker. The question why this double portrait, the elder Vienne captain’s eyes sparkle, Madame is subdued, art exists did not occur to anyone, because wears his uniform and hat. His son the children pensive. But whatever emotion a world without paintings was simply stands informally, wearing a simple is conveyed, the eyes seem to say, “We are real. inconceivable.” white dress and holding his pet in his We come from this place.” True also of Salazar, Collas, and right arm and a flower in his left hand. The portrait is a time-honored form, no Bernard, whose works are a skillful blend- Military historian Timothy Pickles cites matter the artistic trend of the day. Artists ing of art with our desire to make beloved Vienne’s uniform as typical of the painting in 19th-century New Orleans –– faces immortal. Spanish uniforms worn before 1800 in or in the late 18th-century as was the — Louise C. Hoffman embroidery, trim, and style. The red 2 cockade on his hat continues to be used Elmire, and Elodie Angèle. Mme Verret Creole Children, painted in 1872, reveals as part of the Spanish uniform. Vienne, died in 1848. Furcy Verret was a grand- much about the children and their socio- who was a lieutenant in 1779, was son of former lieutenant governor of economic status. They are shown in an breveted captain in 1792. Since Vienne Louisiana Nicholas Verret. Their planta- interior with the clothing and accou- is wearing epaulets on both shoulders in tion, which faced the river and extended trements of a family of substantial means. the manner of field officers, it is proba- to Bayou Villeré, measured 475 feet As evidence of their education, the oldest ble that Vienne was promoted to the front and extended 24 arpents. The boy sits with a book on his lap, while a rank of captain before the por- younger boy leans on a book trait was painted. Mr. Pickles lying open on a cloth-covered points to the badges on table. Two of the girls wear lace- Vienne’s collar, which could be trimmed velvet dresses made in grenades, insignia worn by the same style, although the grenadiers and also worn by color of the fabric is different. officers in artillery units. The An assortment of toys is strewn clothing is characteristic of the on the richly carpeted floor, mixture in military uniforms and a plush red cloth hangs of the period. Vienne died in behind them. During the 1799. His son, who was about Reconstruction period in New five years old at the time of the Orleans, portraits were less portrait, was born in 1790. affordable than during the Collas, who earned his liv- antebellum period. The wealth ing in New Orleans during the of the family, though under- 1820s and 1830s by painting stated, is apparent in the overall miniatures as well as portraits, setting. Bernard, who was cited portrays Mme Furcy Verret, née in local newspapers for his abil- Elmire Duverjé de Vezin in a ity to convey “factual portrai- manner typical of the time. ture,” captures the family like- The 1822 portrait shows her ness in this group of children. bust-length against a solid These three paintings are background. She wears a black excellent examples of the por- dress with bateau neckline, traiture desired by citizens double strand of pearls, from the late 18th- through and drop pearl earrings. the mid-19th century. They Characteristic of many por- document the sitters and the traits of women at the time, Captain Julien Vienne and son by José Francisco Xavier de Salazar y Mendoza, ca. 1796 artists who came to promi- Mme Verret is portrayed with (1999.91.3) nence. Together they supple- emphasis on the sitter’s like- ment the Collection’s rich ness rather than an idealized holdings and increase our image. Mme Verret, the daughter of Verret Canal, excavated by Verret in knowledge of the early history of the city Nicholas Joseph Godofroi Olivier de 1814, served to drain his property. and state. Vezin and Marie Marianne Bienvenu, According to family legend, the Lafitte — Judith H. Bonner was born in 1797. She was the grand- corsairs used the canal for passage to daughter of Pierre François Olivier de Chenière Caminada, Grand Terre, and __________ Vezin, surveyor of the province of Barataria. THNOC’s manuscript hold- Sources: Artists Files, THNOC; Mrs. Thomas Nelson Carter Bruns, Louisiana Portraits (New Louisiana, whose five sons served under ings also include papers pertaining to the Orleans, 1975); Estelle M. Fortier Cochran, The Gálvez in the Revolutionary War. She Verret family. Fortier Family and Allied Families, (San Antonio, married Furcy Verret, the son of Jacques François Bernard, who studied in 1963); A Dictionary of Louisiana Biography, Verret and Marie Élisabeth Duverjé in Paris with Paul Delaroche, was active in Louisiana Historical Association in cooperation 1815. Père Antonio de Sedella, New Orleans during the late 1850s with the Center for Louisiana Studies of the Capuchin priest, who was pastor of the through the mid-1870s. He settled in University of Southwestern Louisiana (New Orleans, 1988); Jack D. L. Holmes, Honor and St. Louis Cathedral in New Orleans, sol- New Orleans at the request of several Fidelity: The Louisiana Infantry Regiment and the emnized their wedding on April 4, 1815. sugar planters who commissioned him to Louisiana Militia Companies, 1766-1821 They had three daughters: Louise, portray themselves and their families. (Birmingham, Alabama,1965). 3 De La Salle claiming the Louisiana territory in the name of Louis XIV. Boquin, lithographer (1970.1) n January 22, 2000, the Historic world that the former French territory had trained architect practicing in mid-nine- ONew Orleans Collection is offering become truly part of the United States.” teenth century New Orleans….It is per- the fifth annual Williams Research — Patricia Brady haps fitting that New Orleans’s most Center Symposium, “France and Director of Publications prominent and symbolic building, the Louisiana: Journée d’Étude,” in the Grand The Historic New Orleans Collection St. Louis Cathedral, still towers over the Ballroom of the Omni Royal Orleans Carnival of Liberty: Lafayette’s Visit to city’s central square in testimony to his Hotel. Speakers from both France and the Louisiana, 1825 extraordinary creativity.” United States will present papers on the — Ann Masson French heritage of Louisiana. Excerpts “Since slaveholders claimed to have Architectural Historian from three of the papers appear below. direct dominion over their slaves, and New Orleans Also participating are Carl Ekberg, since slaves denied the legitimacy of such The Architectural Career of Illinois State University; Elisabeth de domination, the function of slave law J.
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