Wertmüller’s Portrait of Henri Bertholet-Campan with the Dog Aline Magnus Olausson Director of Collections and the Swedish National Portrait Gallery Art Bulletin of Nationalmuseum Stockholm Volume OM Art Bulletin of Nationalmuseum, Stockholm, Picture Editor Every effort has been made by the publisher to is published with generous support from the Rikard Nordström credit organizations and individuals with regard Friends of the Nationalmuseum. to the supply of photographs. Please notify the Photo Credits publisher regarding corrections. The Nationalmuseum collaborates with © Herzog Anton Ulrich-Museum, Braunschweig Svenska Dagbladet, Fältman & Malmén (p. NQ ) Graphic Design and Grand Hôtel Stockholm. © The Gothenburg Museum of Art/Hossein BIGG Sehatlou (p. NU ) Items in the Acquisitions section are listed © Malmö Art Museum/Andreas Rasmusson Layout alphabetically by artists’ names, except in the case (p. OO ) Agneta Bervokk of applied arts items, which are listed in order of © Wildenstein & Co., Inc., New York (p. OV ) their inventory numbers. Measurements are in © RMN Grand Palais/Musée du Louvre, Translation and Language Editing centimetres – Height H, Breadth B, Depth D, Paris/Hervé Lewandowski (p. PMF Gabriella Berggren and Martin Naylor. Length L, Width W, and Diameter Diam. © The J. Paul Getty Museum, Los Angeles – except for those of drawings and prints, which (Fig. QI p. PN ) Publications are given in millimetres. © RMN Grand Palais/Musée du Louvre, Ingrid Lindell (Publications Manager), Paris/René-Gabriel Ojéda (Fig. RI p. PN ) Janna Herder (Editor). Cover Illustration © Guilhem Scherf (p. PO ) Alexander Roslin ( NTNU ÓNTVP ), The Artist and his © Bridgeman/Institute of Arts, Detroit (p. PP ) Art Bulletin of Nationalmuseum is published Wife Marie Suzanne Giroust Portraying Henrik © Musée des Arts décoratifs, Paris/Jean Tholance annually and contains articles on the history Wilhelm Peill, NTST . Oil on canvas, NPN ñ VUKR cm. (p. PQ ) and theory of art relating to the collections of Donated by the Friends of the Nationalmuseum, © RMN Grand Palais/Musée du Louvre, Paris the Nationalmuseum. Sophia Giesecke Fund, Axel Hirsch Fund (p. PR ) and Mr Stefan Persson and Mrs Denise Persson. © Accademia Nazionale di San Luca, Nationalmuseum Nationalmuseum, åã TNQNK Rome/Mauro Coen (Figs, SI NM and NO , Box NSNTS pp. NNQ ÓNNS ) ëÉ ÓNMP OQ Stockholm, Sweden Publisher © Mikael Traung (Fig. T, p. NNQ ) www.nationalmuseum.se Magdalena Gram © Stockholm City Museum (p. NOP ) © Nationalmuseum and the authors http://www.stockholmskallan.se/Soksida/Post/?n Editor id=319 ISSN OMMNJVOPU Janna Herder © Stockholm City Museum/Lennart af Petersens (p. NOQ ) Editorial Committee © http://www.genealogi.se/component/ Mikael Ahlund, Magdalena Gram, Janna Herder, mtree/soedermanland/eskilstuna/ Helena Kåberg and Magnus Olausson. a_zetherstroem_/22850?Itemid=604 (p. NOR ) © http://www.genealogi.se/component/ Photographs mtree/bohuslaen/marstrand/robert-dahlloefs- Natinalmuseum Photographic Studio/Linn atelier/22851?Itemid=604 (p. NOT ) Ahlgren, Erik Cornelius, Anna Danielsson, Cecilia Heisser, Bodil Karlsson, Per-Åke Persson, Sofia Persson and Hans Thorwid. ~ÅèìáëáíáçåëLïÉêíãΩääÉêÛë éçêíê~áí Wertmüller’s Portrait of Henri Bertholet-Campan with the Dog Aline Magnus Olausson Director of Collections and the Swedish National Portrait Gallery ^ÇçäÑ räêáâ tÉêíãΩääÉê (NTRNÓ NUNN ) had trained under his second cousin Alexander Roslin in Paris and stud - ied at the French Academy in Rome. Re - turning to the French capital in the spring of NTUN , he found commissions difficult to come by and made a living as a copyist in Roslin’s studio instead. Here he was discov - ered by the Swedish ambassador Gustaf Fil - ip Creutz, who placed several important commissions with him. As a result, the young artist also attracted the interest of Gustav III. Just before his departure from Paris after a month-long stay in the sum - mer of NTUQ , the Swedish king managed to persuade Queen Marie-Antoinette to have Wertmüller paint her portrait as a gift to him. Gustav had intended this to be Wert - müller’s ticket to a successful career in Paris. At first, all seemed to go well. A few weeks after the king’s return home, Wert - müller was elected a member of the French Royal Academy of Painting and Sculpture, giving him a kind of formal accreditation. Shortly afterwards, he painted the queen Fig. N Adolf Ulrik Wertmüller ( NTRNÓNUNN ), Portrait of Henri Bertholet-Campan ( NTUQÓNUON ) as a Child, with the Dog Aline, NTUS . Oil on canvas, NMM ñ UNKR cm. Purchase: Hedda and N. D. Qvist Fund. Nationalmuseum, åã TNPPK NV Art Bulletin of Nationalmuseum Stockholm Volume OM OMNP ~ÅèìáëáíáçåëLïÉêíãΩääÉêÛë éçêíê~áí French Foreign Ministry at Versailles. This explains both why Wertmüller was so well informed and how he came to paint almost a dozen portraits of various members of the Genet-Campan family. In gratitude to his friend Mme Cam - pan, Wertmüller painted a portrait of her O-year-old son Henri Bertholet-Campan (NTUQÓNUON ). This was in the autumn of NTUS , when the large portrait of the queen had been completed and shipped to Swe - den. The painting shows the little boy to - gether with the dog Aline in the English landscape garden at the family’s summer retreat at Croissy, outside Paris (Fig. N). It was exhibited at the Salon of NTUT , but with the somewhat anonymous title A Child Playing with a Dog . Perhaps this was out of discretion, to avoid spelling out too clearly Fig. O Adolf Ulrik Wertmüller ( NTRNÓNUNN ), Fig. P Adolf Ulrik Wertmüller ( NTRNÓNUNN ), how well acquainted Wertmüller was with Adélaïde Auguié as a Dairymaid in the Royal Dairy at Portrait of the French Dauphin Louis ENTUN ÓNTUVF I one of the queen’s closest confidantes. Lat - Petit Trianon-Le Hameau, . Oil on canvas, Oil on canvas, cm. Purchase: NTUT NTUQK QSKR ñ PU er, he would also paint Mme Campan’s NNTKR ñ UVKR cm. Donated by the Friends of the Hedda and N. D. Qvist Fund. brother Edmond Genet, and their sister Nationalmuseum. Nationalmuseum, åã QUUNK Nationalmuseum, åã TMRMK Adélaïde Auguié. The latter, also a lady-in- waiting to Marie-Antoinette, was portrayed as a dairymaid in the royal dairy at Petit Trianon-Le Hameau. That picture was and her daughter, Madame Royale, at the Wertmüller, quite understandably, went painted in NTUT and has been in the Na - Petit Trianon, while the dauphin sat for into a deep depression, but after a while tionalmuseum’s collections since NVRN , a him at the Château de la Muette near Paris. was able to summon up the strength to gift from the Friends of the Nationalmuse - At the Louvre, Wertmüller was able to bor - make the necessary adjustments before the um (Fig. O). Since then, a preliminary row Jacques-Louis David’s studio to work portrait was sent to Sweden the following study for the portrait of the French on his large portrait of the queen, as David year. The person who came to Wert - dauphin Louis has also been acquired (Fig. was in Rome. The artist went about his task müller’s aid was his friend Henriette Genet- P). With this latest acquisition, another most methodically, leaving nothing to Campan, and it was largely thanks to her piece can be added to the fascinating story chance. He even had Marie-Antoinette’s that he got paid at all. Mme Campan was a of the origins of Wertmüller’s portrait of wigmaker Monsieur Léonard produce a lady-in-waiting to the queen and closely ac - Queen Marie-Antoinette. coiffure of the type she wore, to ensure that quainted with the private royal finances, every detail was correct. Meanwhile, there having charge of Marie-Antoinette’s privy was growing envy among the French artistic purse. She defended Wertmüller to the establishment. In the eyes of his competi - queen on several occasions, including in tors, giving a young Swedish artist a com - August NTUS . It was Mme Campan, there - mission as prestigious as painting the fore, who suggested the fee the artist queen’s portrait was little short of treason. should ask, and also the point in time at When the portrait of Marie-Antoinette which he should submit his account. As a went on show on OQ August NTUR , it was im - precaution, a mutual friend, Gabriel Lind - mediately slated by the critics. The queen blom, acted as an intermediary between the was not happy with it either, and reportedly two. Lindblom had been a tutor to Mme exclaimed, “Quoi! C’est moi là?” (“What! Is Campan’s younger brother Edmond Genet that supposed to be me?”). and now served as an interpreter at the Art Bulletin of Nationalmuseum Stockholm Volume OM OMNP OM.