Portrait Of A Young Princess, Pierre Mignard Circle (1612–1695)
Oil on oval canvas. French School, circa 1680, from the circleof Pierre Mignard.
This delightful portrait, of remarkable freshness, perfectly embodies the charm and refinement of French portraiture during the reign of Louis XIV. The value of this painting lies in the fact that we are in the presence of an original work depicting a woman whose youthful face is exquisitely gentle: velvety modeling, perfectly blended transitions, and arosy, slightly pearlescent complexion. This is not yet another studio copy of portraits of the royal family, but rather the portrait of a young aristocrat who has yet to be identified.
Our painter, clearly trained in the circle of Pierre Mignard, has mastered the elegant and luminous aesthetic that made the court’s high-society portraits famous.
The red ribbons that enliven her hair, the carmine bodicetrimmed with fine lace and adorned with gemstones, and the yellow stole covering a pink blouse with blue sleeves—all combine to form an alluring ensemble, lending the image an intimate, almost confidential character. There is none here of the dramatic tension or Roman chiaroscuro: the light is frontal, even, caressing. The painter seeks above all grace, harmony, and theemphasis on the face—all characteristic traits of Mignard’s followers active in Paris around 1700. The oval format, highly prized in private apartments, further enhances the work’s precious character. The excellent state of preservation, the freshness of the colors, and the elegance of the composition make this a particularly attractive portrait, representative of French taste at the end of the Grand Siècle.
Our portrait is presented in its original Louis XIV-era frame made of carved and gilded wood.
Dimensions: 33 x 26.5 cm – 45.5 x 38 cm with the frame
Biography: Pierre Mignard (Troyes 1612 – Paris 1695) was the brother of Nicolas (known as Nicolas Mignard d’Avignon), who was also a painter. Like Valentin de Boulogne, Michel Dorigny, Charles Le Brun, and Eustache Le Sueur, he was a student of Simon Vouet. Nicknamed “the Roman” because he spent a long time in Rome, Pierre Mignard is considered one of the finest colorists of his time. Louis XIV summoned him back from Italy in 1657 to entrust him with the decoration of the dome at Val-de-Grâce and the Small Gallery at Versailles. After the death of Charles Le Brun, he was appointed First Painter to the King and director of the Academy of Painting. Pierre Mignard excelled in portrait painting and distinguished himself through the naturalness and realism of his figures’ expressions.
Bibliography:
- AUBERT, Jean, Faces of the Grand Siècle: French Portraitureduring the Reign of Louis XIV, 1660–1715, (exhibition catalog, Nantes, Museum of Fine Arts, June 20–September 15, 1997; Toulouse, Musée des Augustins, October 8, 1997–January 5, 1998), Somogy, 1997.
- KIRCHNER, Thomas, The Fortunes and Misfortunes of the Portrait in17th-Century France, Paris, Fondation Maison des Sciences de l’Homme, German Center for Art History, 2022.
- BAJOU, Thierry, Painting at Versailles in the 17th Century,Réunion des Musées Nationaux, 1998
- BOYER, Jean-Claude, Pierre Mignard the Roman, Documentation Française Editions, 1997
- LEROUX, Flavie; VAYSSE, Elodie, Versailles: A Castle with a Feminine Touch, Paris, Réunion des Musées Nationaux, 2022
This delightful portrait, of remarkable freshness, perfectly embodies the charm and refinement of French portraiture during the reign of Louis XIV. The value of this painting lies in the fact that we are in the presence of an original work depicting a woman whose youthful face is exquisitely gentle: velvety modeling, perfectly blended transitions, and arosy, slightly pearlescent complexion. This is not yet another studio copy of portraits of the royal family, but rather the portrait of a young aristocrat who has yet to be identified.
Our painter, clearly trained in the circle of Pierre Mignard, has mastered the elegant and luminous aesthetic that made the court’s high-society portraits famous.
The red ribbons that enliven her hair, the carmine bodicetrimmed with fine lace and adorned with gemstones, and the yellow stole covering a pink blouse with blue sleeves—all combine to form an alluring ensemble, lending the image an intimate, almost confidential character. There is none here of the dramatic tension or Roman chiaroscuro: the light is frontal, even, caressing. The painter seeks above all grace, harmony, and theemphasis on the face—all characteristic traits of Mignard’s followers active in Paris around 1700. The oval format, highly prized in private apartments, further enhances the work’s precious character. The excellent state of preservation, the freshness of the colors, and the elegance of the composition make this a particularly attractive portrait, representative of French taste at the end of the Grand Siècle.
Our portrait is presented in its original Louis XIV-era frame made of carved and gilded wood.
Dimensions: 33 x 26.5 cm – 45.5 x 38 cm with the frame
Biography: Pierre Mignard (Troyes 1612 – Paris 1695) was the brother of Nicolas (known as Nicolas Mignard d’Avignon), who was also a painter. Like Valentin de Boulogne, Michel Dorigny, Charles Le Brun, and Eustache Le Sueur, he was a student of Simon Vouet. Nicknamed “the Roman” because he spent a long time in Rome, Pierre Mignard is considered one of the finest colorists of his time. Louis XIV summoned him back from Italy in 1657 to entrust him with the decoration of the dome at Val-de-Grâce and the Small Gallery at Versailles. After the death of Charles Le Brun, he was appointed First Painter to the King and director of the Academy of Painting. Pierre Mignard excelled in portrait painting and distinguished himself through the naturalness and realism of his figures’ expressions.
Bibliography:
- AUBERT, Jean, Faces of the Grand Siècle: French Portraitureduring the Reign of Louis XIV, 1660–1715, (exhibition catalog, Nantes, Museum of Fine Arts, June 20–September 15, 1997; Toulouse, Musée des Augustins, October 8, 1997–January 5, 1998), Somogy, 1997.
- KIRCHNER, Thomas, The Fortunes and Misfortunes of the Portrait in17th-Century France, Paris, Fondation Maison des Sciences de l’Homme, German Center for Art History, 2022.
- BAJOU, Thierry, Painting at Versailles in the 17th Century,Réunion des Musées Nationaux, 1998
- BOYER, Jean-Claude, Pierre Mignard the Roman, Documentation Française Editions, 1997
- LEROUX, Flavie; VAYSSE, Elodie, Versailles: A Castle with a Feminine Touch, Paris, Réunion des Musées Nationaux, 2022
5 500 €
Period: 17th century
Style: Louis 14th, Regency
Condition: Excellent condition
Material: Oil painting
Width: 38
Height: 45,5
Reference (ID): 1818216
Availability: In stock
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