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Suzanne Roslin L’Académie Neil Jeffares, Dictionary of pastellists before 1800 Online edition ROSLIN, Mme Alexander, née baron Scheffer, rigsgreve Adam Lewenhaupt, She was the model for her husband’s famous Blondel d’Azincourt (Roslin’s portrait of whom Dame à l’éventail. She was one of only a handful of Jeanne-Suzanne Giroust was in the salon in 1755), Watelet, Coustou, women admitted to the Académie before the Paris 9.III.1734–31.VIII.1772 Vien and his wife, as well as Pierre and his Revolution, agréée and reçue simultaneously in 1770 Suzanne Giroust was the daughter of mother. The bride was given away by her with her portrait of Pigalle, undoubtedly her Barthélemy Giroust ( –1742), joaillier de la grandmother Mme François-Étienne Jacques, masterpiece and particularly praised by the critics garde-robe du roi, and Marie-Suzanne Le Roy ( née Jeanne-Suzanne Le Sourt – a pastel of of the 1771 Salon. Even Horace Walpole, who –1745), his second wife. On the death of her whom may tentatively be attributed to her mostly disliked the Paris salons, acknowledged this father, tuteurs were appointed for Jeanne- charge. Mme Roslin’s grandmother evidently “fine portrait” (it was the only pastel he mentioned Suzanne (the future Mme Roslin, aged 8) and played a major role in raising the orphan, who from the four salons he attended). The pastel her sister Marie-Thérèse (aged 6); as well as for was still living with her at the time of the today remains one of the most striking works in their half-brothers Étienne-Barthélemy and marriage. Jeanne-Suzanne Le Sourt was the Louvre’s collection, much of its distinctiveness Pierre, also minors, the sons of Barthélemy’s previously married to François-Gabriel Le Roy, arising from the dramatic di sotto in sù composition first marriage, to Catherine Regnault. The who died before 1733, and they were the rare in French portraiture of the time, but tuteurs, relatives and friends mentioned in these parents both of the pastellist’s mother and of practised repeatedly by Alexander Roslin from the documents included Charles Gaudin, executor François-Paul Le Roy, premier secrétaire de la 1750s, particularly for subjects connected with the of their father’s will; Pierre Debure, marchand Marine; the secrétaire d’État Berryer also signed arts: his own self-portrait (Louvre, 1766), the mercier; François-Paul Le Roy, employé dans les the contract, as did one of the Lamoignon architect Adelcrantz (Stockholm, Akademien, fermes du roi, uncle (he was later secrétaire de la présidents. Roslin brought 19,000 livres to the 1754). Dandré-Bardon (1756) and Marigny (1761). Marine, and the father of one of her sitters); marriage; Suzanne Giroust 1350 livres in cash, For Diderot, her pastels “sont d’une touche Louis Goupy, marchand joaillier; and Simon- as well as several annuities totalling 118 livres fine et d’un pinceau digne de son habile maître.” Michel Liégeois, peintre de l’Académie de Saint- and jewellery worth 2658 livres, while her Picking out one portrait, “Notre ami l’abbé Luc (where he was reçu 1720, later exhibiting grandmother settled a further income of 181 Lemonnier; c’est sa physionomie, sa simplicité, landscapes and portraits in oil). Mme Roslin’s livres p.a. on her. These complicated sa rusticité, sa vivacité, et même le reste de son forenames are given clearly in the 1742 entries relationships are set out in the genealogies of apoplexie à la bouche. Très-vigoureux. Courage, in both the registres de tutelles and the clôtures the Giroust, Le Roy and Le Sourt families. Madame Roslin; ce n’est pas encore La Tour, il d’inventaires as “Jeanne-Suzanne” (her Suzanne studied under La Tour, presumably est aussi grand coloriste et il est plus grandmother’s names), but (whether through in the early 1750s. There is little indication of harmonieux.” Diderot also wrote to Falconet on confusion or personal preference) she appears the work she did at this period. A copy of La 29.XII.1770 explaining the circumstances of her either as Marie-Suzanne (including in her Tour’s 1752 pastel of Lady Coventry, which portrait of Dumont le romain (“Madame Roslin, marriage contract) or just Suzanne in later descended to the nephew of Suzanne’s son-in- mécontente des éloges que Dumont le Romain documents. law, has traditionally been attributed to her, but donnait à un de ses pastels, vient de le prendre à It is possible that Mme Roslin was related to was presented as an autograph version in La la boutonnière et d’exécuter, d’après lui, un a peintre de l’Académie royale, Barthélémy- Tour 2004a; if nevertheless by her, it would portrait fort supérieur à celui qu’il attribuait à Charles Giroult, recorded as a valuer in the demonstrate an astonishing mastery of her son mari”; Correspondance générale, X, p. 197). inventaire of Philippe d’Orléans in 1701. But master’s style at an early age. She died the following year, of breast cancer. she cannot have been the sister of the much Mme Roslin’s work was reported in the (Her funeral took place at Saint-Germain younger Vien protégé, Jean-Antoine-Théodore Feuille nécessaire, 2.IV.1759, p. 118: l’Auxerrois on 1.IX.1772, attended by her Giroust (q.v.), presumably the basis Ratouis de widower, by her uncle, François-Paul Le Roy, Limay’s statement that she was Vien’s pupil Les femmes partagent aujourd’hui avec les hommes and by Roslin’s pupil and cousin Wertmüller, (Vien rarely if ever worked in pastel). tous les genres de talens: à l’égard de la Peinture, si leur composition n’est pas toujours aussi hardi, la who gave the same address as Roslin, rue des There was however a close social relationship beauté du coloris se trouve plus souvent dans leurs Petits-Champs; a placard de décès, AN, was with Vien. Suzanne was marraine to a child of Ouvrages. Madame Rosselin, Elève du célèbre M. de issued by Roslin, their children and Le Roy; her Vien, baptised Jean-Marie or Jeanne-Marie, at la Tour, a fini depuis peu divers morceaux en name was spelled Giroult.) Despite the size of Saint-Germain-l’Auxerrois on 5.IX.1765; Pigalle Pastel, dans lesquels on remarque la fraîcheur & la her output – fewer than two dozen known was the parrain: Jal erroneously prints 1755, and vérité du coloris de cet excellent maître. Elle réussit pastels executed over a five-year period – there describe the child as a daughter, while particulierement dans le portrait, elle saisit très-bien is broad recognition of one of the great talents Gaehtgens & Lugand think this record is an la ressemblance & le ton de la carnation. Nous donnerons le détail de quelques-uns de ses of the era. While her earlier work is not of error for Vien’s son Jean-Marie; other sources Tableaux, dès qu’elle y aura mis la derniere main. uniform achievement, the final pastels have a give his baptism as 1762. In 1769 Vien visited virtuosity close to La Tour’s, limited only by the Suzanne when she was staying in Villeneuve- Her self-portrait copying La Tour’s self- restricted palette she seems to have chosen. Saint-Georges (letter of Cochin to Desfriches, portrait (an oval version which itself may or may 17.IX.1769). not be the original), a remarkable composition (perhaps drawn in part from Chardin’s 1743 Bibliography She was orphaned when she met Vien’s AN Y5273, registre de clôtures d’inventaires portrait of Mme Lenoir tenant une brochure, or friend Alexander Roslin in 1754; their marriage p.m., 17.IV.1742; AN Y4597B, registres de from Rigaud’s 1730 of the artist painting – opposed by her family, since Roslin was a tutelles, 19.V.1742; placard de décès; Bellier de François Castanier), added support to the Protestant – took place after a five year interval, La Chavignerie & Auvray; Bénézit; Biedermann widespread inference that she was his pupil. with the support of the comte de Caylus, who 1987; Blanc 2006; Bonnet 2002; Chennevières Other subjects included family members and had also arranged a wife for Vien. A passage in 1856, pp. 487f; Fidière 1885, p. 32f; Gaehtgens close friends such as Mme Hall, and the wife Vien’s autobiographical mémoires (reprinted & Lugand 1988; Giuseppe di Paolo 2009; Greer and children of Hubert Robert. The Swedish Gaehtgens & Lugand 1988, p. 309) describes 2001; Guichard 2018; Jal 1872; Cathrin merchant and art collector Henrik Wilhelm Peill Roslin and Vien’s joint visits to Vien’s future Klingsöhr-Leroy, in Grove 1996; Los Angeles was the subject of two pastels dating 1766–67, wife, Marie-Thérèse Reboul (they would marry 1976b, pp. 39–41; Lundberg 1934; Lundberg and appears in a third on the easel of Roslin’s 10.V.1757), and records Roslin’s remark that 1936; Lundberg 1957; Lundberg 1961; Monnier; painting of his wife at work; in each he wears a “nous osmmes garçons, l’un et l’autre, il faut Ratouis de Limay 1946; Roslin 1913; Roslin different costume, but the face is unchanged, nous marier. J’ai déjà en vue une demoiselle 2007; Salmon 1997a; Sanchez 2004; Thieme & and has an expression (as well as a technique) pour moi”, going on to recommend Mlle Becker; Tokyo 2011; Wildenstein 1966 Reboul’s qualities for his friend. that is more reminiscent of La Tour’s abbé Roslin and Giroust were married two years Pommyer than Lundberg’s portrait of Peill. An GENEALOGIES Giroust, Le Roy, Le Sourt after Vien and Reboul. The contract, 5.I.1759, enamel copy in Helsinki is thought to be by was signed also by the Swedish ambassador Pasquier rather than by Hall.
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