The Princesse de Broglie
The Princesse de Broglie is an oil-on-canvas painting by Jean-Auguste-Dominique Ingres. It was painted between 1851 and 1853, and shows Pauline de BroGlie, who adopted the courtesy title ‘Princesse’ The painting is held in the collection of the Metropolitan Museum of Art, New York, and is signed and dated 1853.
About The Princesse de Broglie in brief
The Princesse de Broglie is an oil-on-canvas painting by the French Neoclassical artist Jean-Auguste-Dominique Ingres. It was painted between 1851 and 1853, and shows Pauline de BroGlie, who adopted the courtesy title ‘Princesse’ The painting is held in the collection of the Metropolitan Museum of Art, New York, and is signed and dated 1853. It is considered one of Ingres’s finest later-period portraits of women, along with the Portraits of Comtesse d’Haussonville, Baronne de Rothschild and Madame Moitessier. Pauline was 28 at the time of the painting’s completion. She was highly intelligent and widely known for her beauty, but she suffered from profound shyness and the painting captures her melancholia. She contracted tuberculosis in her early 30s and died in 1860 aged 35. Although Albert lived until 1901, he was heartbroken and did not remarry. After his death, the painting passed within the family until 1958 when it was sold to the Metropolitan Art via the banker and art collector Robert Lehman. There is no surviving record of the commission, and the exact sequence of events is uncertain, but the sketches can be dated from 1850, the year the style of her evening dress came into fashion.
They show her in various poses, including standing, and in differently styled dresses. There are comparatively few extant preparatory sketches for the painting compared to other portraits of his later period. The earliest consists of a brief sketch of the princess seated in a full pose, but show Ingres’s thinking through the eventual form and pose of the sitter. The final sketch of a full sitter in a seated position is a full portrait of a princess in a sitting position, but there is no evidence that Ingres used this technique for the final work of this type of portrait. The sketches vary in detail in elaboration and detail, but all show the full pose and detail of the full-terterter in which the princess is seated, seated, standing or standing. They are drawn with graphite or tracing on paper or tracing paper or graphite on graphite, and are drawn in different styles. The family kept most of the jewelry and accessories seen in the painting, although although marabou feathers in the Costume Institute of the University of Paris sold them in the 1960s, they are today held at the Lehman Wing of the Museum of Costume.
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