Portrait Présumé d’Elisabeth Delpech, Marquise de Cailly
Portrait Présumé d’Elisabeth Delpech, Marquise de Cailly c1700 et 1750 par le peintre français Nicolas de Largillierre (1656 – 1746), portraitiste et dessinateur
C'est magnifiquement fait portrait serait celui d'Elisabeth Delpech, Marquise de Cailly ( – 1717), qui était l'épouse de l'avocat général français Pierre Delpech marquis de Cailly (1673 – 1733); basé sur des informations qui étaient attachées au dos de la peinture.
Cela ne peut cependant pas être vérifié car il n'y a pas de documents d'archives ou de détails biographiques sur elle et le département des Estampes de la Bibliothèque nationale de France., spécifie la peinture comme: “Élisabeth de Caumartin, Marquise de Cailly”
Le portrait la montre assise sur une chaise contre un ciel nocturne de nuages de teintes bleues accentuées d'orange et d'un arbre à sa droite.
Sur son côté droit se trouve un drapé violet rougeâtre et sur sa gauche un pilier brun. Ses cheveux sont ornés d'une fleur rouge et blanche et rouge ainsi que d'un bijou en forme de larme de rubis et d'or.
Elle porte un chemisier blanc à volants en maille transparente à col en V profond, sous un manteau vert et rouge noué sur le devant avec un pendentif en or; et il y a des accents dorés supplémentaires attachés au col de la cape.
Il s'agit d'une reproduction de maîtres anciens d'art numérique retouchée d'une image du domaine public.
Informations ci-dessous dérivées de NGA.gov
Nicolas became known as one of Europe’s premier painters of portraits, historical paintings, and still life artwork during the late seventeenth century and the first four decades of the eighteenth century.
He was born in Paris in 1656 to a hat maker and merchant who moved with his family to Antwerp when Nicolas was three years of age.
When Nicolas was nine years old, he traveled for the first time to London, England in the company of an associate of his fathers; and after returning to Antwerp over a year later his artistic talent was recognized, and as a result he was apprenticed by his father to the Flemish Baroque Painter Antoni Goubau (1616 – 1698), a painter of bambocciate, scènes de genre, et paysages.
Being something of a prodigy, Nicolas was admitted to the painters’ Guild of Saint Luke in 1673 at the age of seventeen; then two years later mad another trip abroad to London, where he was employed as a restorer under the direction of the Italian Painter Antonio Verrio (1639 – 1707), at Windsor Castle; who brought him to the attention of King Charles II (1630 – 1685), who reigned from 1660 jusqu'à sa mort en 1685.
Par 1679 à l'âge de 23 Nicloas had settled in Paris, La France; specializing the Baroque style of portraiture that followed in the grand manner of Peter Paul Rubens (1577-1640), Antoine van Dyck (1599-1641), and Peter Lely (1618-1680).
Then the Flemish Battle Painter Adam Frans van der Meulen (1631-32 – 1690) introduced him to Charles Le Brun (1619 1690), who was the First Painter to King Louis XIV (1638 – 1715) and who reigned from 1643 jusqu'à sa mort en 1715; and who also was the director of the Académie royale de peinture et de sculpture.
Upon his acceptance as a candidate for admission to the Académie, he agreed to execute as his diploma artwork, a large portrait of Le Brun, which he in 1686, which depicts him seated in his studio surrounded by the accoutrements of his art; and an oil study for The Second Conquest of Franche-Comté, one of the large decorations for the ceiling of Galerie des Glaces at Versailles.
Nicolas created a tremendous amount of artwork with some 1500 portraits (currently being cataloged by Dominique Brême); which required hime to maintain a workshop with studio assistants, to whom he delegated the painting of costumes and minor accessories.
During his long and industrious and illustrious career, Nicolas de Largillierre served terms as a professor, rector, chancellor and director of the Académie royale; passing away at the age of ninety in 1746.