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Louis HersentMiss Virginie LupinAround 1820
Around 1820
About the Item
Oil on canvas
130 x 90 cm (51 x 35,4 inch) ; 165 x 132 x 8 cm the frame (64.96 x 51.97 x 3.15 inches)
Provenance: Achille François Bégé ; family estate
Louis Hersent, second “Prix de Rome” in 1797, was trained in neo-classicism by Jacques-Louis David and Jean-Baptiste Regnault. He adopts here, as he usually does in his portraits, a language closer to Romanticism. This is evidenced, among others, by the choice of plein air, reminiscent of the English painting rediscovered by young French artists after the end of the Napoleonic blockade.
It then became a vogue, following the example of the nobility across the Channel, to be depicted in the countryside or ideally on one's land, with the family home appearing in the background, as in the portrait of Countess Walsh de Serrant and her children.
It's interesting to note that for this latter work painted in 1832, which is almost ten years after the portrait of Virginie Lupin, Louis Hersent used a number of elements almost identically: the model in a white dress with a red scarf and parasol, seated on a rock near a tree, a bouquet of flowers in hand.
Beyond the codes common to the haute-bourgeoisie, the portrait of the beautiful Virginie Lupin may have received enough praise for the artist to have wished to reuse its artifices to recapture its effect.
Nevertheless, the work belongs to the decade corresponding to the apogee of Louis Hersent's career as a portraitist, admired by the highest nobility. Among many other works, he produced portraits of the Marquis de Clermont Tonnerre, of the Prince de Carignan, and of King Louis Philippe and Queen Marie-Amélie in 1831 (3).
Ample and elegant, our Virginie Lupin is a testament to the quintessential portraiture of the “Restauration” period.
Virginie Lupin (b. 1804), married in 1825 to the future prefect Achille Bégé (1794 - 1844).
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