![]() ![]() On the table, there is a photo frame, perhaps containing a picture of someone dear to her, and its reflection is visible in the mirror in the background. The girl in the painting is dressed in a vibrant red dress and white stockings, and her expression suggests a moment of contemplation. Weise's painting is a beautiful example of this genre, as he uses the same technique of a single source of light to create a sense of depth and realism in the painting. The candle-light paintings were characterized by the use of a single source of light, which was usually a candle, and were often accompanied by the inclusion of reflective surfaces such as mirrors, to create an ambiance of warmth and intimacy. This painting captures the essence of the candle-light genre of art, which originated in the 17th century and was popularized by Dutch and Flemish artists. This painting features a young girl sitting on a chair in a dimly lit room, illuminated by the soft glow of an orange-tinted ceiling lamp. It was destined to become the artist’s most famous work and perhaps the best known image of the great American patriot. Two years later he created a portrait of Benjamin Franklin in a red coat with a fur collar, a painting which was the subject of much favorable comment. He was very successful and in 1777, he was allowed to paint a full-length portrait of Louis XVI (1754–1793) in his state robes. ![]() After training for many years in Paris, Duplessis presented himself to the Académie in 1769 and was afforded the opportunity to exhibit regularly at the Salon. Joseph-Siffred Duplessis (1725-1802) was a renowned French portrait painter, famed for his intimately rendered portraits. We believe that the present painting was created by someone from his very close circle. Duplessis is known to have reused many of his favoured compositions in different portraits, but he always applied slight differences, such as in the present painting. It is very close to the works of Joseph-Siffred Duplessis (1725-1802) and it shares an uncanny resemblance to the portrait that he painted of the Comtesse de Provence, Princess of Savoie and wife of the King Louis XVIII of France. The painting really has a soul, when one looks at it, it feels as if one is looking at a real person. This portrait has been wonderfully painted, the artist not only beautifully depicted the fabrics, but also marvellously captured the happy nature of the sitter. Her hair is styled in an elaborate 18th century style and tied together with a blue and cream silk hairband. The bodice is adorned with a cream silk band which has been beautifully tied to a ribbon at the top, a tulle-lining completes the dress. She is very elegantly dressed, wearing a blue dress with embroidered silk sleeves. This cheerful young lady is looking at the spectator with a sparkling eyes has a cheeky smile on her face, almost as if she has just heard a funny story. In 1806, while still Louise Mauduit, she painted a portrait of Napoleon’s youngest sister, Pauline Bonaparte.ġ8th century French Rococo portrait of a young noble lady ![]() It is likely through her husband’s royal patronage that Hersent’s Louis XIV Visits Peter the Great was purchased for the Royal Collection in Versailles. She exhibited at the Salon from 1810 until 1824, and in 1821 she married the painter Louis Hersent, a successful pupil of Jacques-Louis David who was patronized by Louis XVIII and Charles X. While Hersent-as we will call her here following the signature on the painting-has been understudied, the known details of her life and career reveal that she held a privileged position in artistic life in the early nineteenth century in Paris. This charming portrait of a young boy is the work of Louise-Marie-Jeanne Hersent, a little-known woman artist of the French Restoration often identified by her maiden name, Mauduit. Signed and dated, lower left: Louise Hersent/ 1823 ![]()
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