La Comtesse Du Barry en Flore, French Belle Epoque Beauty in 18th Century Dress

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About the Item

A French Belle Epoque pastel portrait of a beauty in carved and gilt Louis XVI style circular frame. The work is signed side right 'Coz'. A charming pastel portrait of a society lady in the style of the 18th century. Her characteristic hairstyle with roses, stylish Louis XV dress again with roses applied, her fine lips and large soulful eyes. The artist has handled the flesh tones, drapery of the dress and the roses with an accomplished hand. A very pretty and decorative addition to any collection. This drawing is inspired by the portrait of 'la Comtesse Du Barry en Flore', painted in 1769 by François-Hubert Drouais, Pastel consists of powdered pigment that’s mixed with a binder to form sticks in various colours. Those sticks, often referred to as crayons, are then applied to paper. The earliest examples of the medium date back to the Renaissance, though the golden age came in the 18th century, initially in France. In 1701, Joseph Vivien became the first pastellist to be admitted to the Royal Academy of Painting and Sculpture in Paris. Just 45 years later, reviewing the prestigious Salon exhibition at the Louvre, art critic Étienne La Font de Saint-Yenne observed that ‘every artist now has a crayon in his hand’ and ‘the public embraces [their work] with a frenzy’. The unique, optical properties of pastel were also key to its success. It emits a light far brighter than most other surfaces, with many 18th-century viewers speaking of the distinctive ‘bloom’ that enlivened a sitter’s complexion. Cotes, admittedly with some bias, said pastel works were ‘luminous and beautiful beyond all other pictures’. François-Hubert Drouais (Paris, 14 December 1727 – Paris, 21 October 1775) was a leading French portrait painter during the latter years of Louis XV's reign. His clientele included the French royal family and nobility, foreign aristocracy and the wealthier members of Parisian society and their favourites. But it was his increasing popularity at the French court that expanded his clientele and made his portraits a fashionable necessity. Drouais’s work was admired during his lifetime. Drouais was apprenticed successively to his father Hubert Drouais, Donat Nonnotte, Charles-André van Loo, Charles-Joseph Natoire, and François Boucher. He was received into the Académie Royale in 1758 with his portraits of the celebrated sculptors Edme Bouchardon (1698–1762) and Guillaume II Coustou (1716–77). Both portraits were exhibited at the Salon of 1759 and received praise. Drouais attended the meetings of the Académie Royale and, from 1755 until his death in 1775, exhibited regularly at the official Salons held in the Louvre in Paris. Drouais was a favourite portrait painter of Jeanne Beçu, Comtesse du Barry (1743–93) and, from 1772 until his death, held the position of premier peintre to Louis-Stanislas-Xavier, Comte de Provence (1755–1824), known as Monsieur, later Louis XVIII. Mesdames de France, the daughters of Louis XV, were also important patrons. They recommended him to their father, Louis XV, when a portraitist was sought to travel to Vienna to paint the young Marie-Antoinette. Drouais was approached, but his commission fee was regarded as too high. Ducreux went instead. Some of Drouais's pupils include Catherine Lusurier, his son Jean-Germain Drouais, Jean-Louis Voille, and Pierre-Hippolyte Lemoyne. Among his portraits include those of Louis XV, Louis's official mistresses Madame de Pompadour and Madame du Barry, Mesdames de France, the Comte and Comtesse de Provence, the Comte de Buffon, Madame Favart, and the young Marie-Antoinette.

Creation Year:
1900s
Dimensions:
Height: 12.6 in (32 cm)Diameter: 12.6 in (32 cm)
Medium:
Paper,Pastel
Movement & Style:
Romantic
After:
François-Hubert Drouais (Paris 1727 - Paris 1775) (1727 - 1775, French)
Period:
Early 20th Century
Condition:
Gallery Location:
Cotignac, FR
Reference Number:
Seller: LG/Belleepoquebeauty1stDibs: LU1430212403542

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