Mademoiselle de Lancey by Carolus-Duran - Sexy Elegance

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Mademoiselle de Lancey c1876

Mademoiselle de Lancey c1876 is an exquisite portrait painted by the renowned French artist Carolus-Duran (Charles Auguste Émile Durant – 1837 – 1917). The painting showcases the artist’s mastery of portraiture and his ability to capture the essence of 19th-century aristocratic life through his detailed representation of the subject. Duran, celebrated for his precise and lifelike depictions of his sitters, infuses this work with a rich sense of elegance and refinement that transports the viewer to the golden era of French high society.

Mademoiselle de Lancey by Carolus-Duran Classical Fine Art Old Masters Reproduction Wall Decor Poster Art Print

The Subject

At the center of the composition is Mademoiselle de Lancey, the young woman whose captivating beauty and poised demeanor take center stage. The subject reclines casually on a luxurious, ornate sofa, her posture graceful yet relaxed, embodying the aristocratic confidence typical of women in the late 19th century. She gazes directly at the viewer, her expression one of thoughtful contemplation, which suggests a quiet, reserved intelligence. Her gaze, coupled with her subtle smile, creates a balance between openness and reserve, inviting the viewer into her world without fully revealing her innermost thoughts.

The woman’s attire is as much a reflection of her social standing as it is a key element of the painting. She is dressed in a sumptuous white gown adorned with delicate lace and shimmering embellishments, a testament to the fashion of the time. The gown, which seems to almost glow against the dark backdrop of the painting, perfectly complements her fair complexion. The layers of fabric, with their intricate folds and delicate texture, are rendered in a way that emphasizes the tactile nature of the materials. The artist has paid careful attention to the fine details, capturing the delicacy of the fabric and the way it clings to the body, showcasing Duran’s exceptional skill in portraying the human form.

Her hairstyle, styled with elegant curls and soft waves, is topped with a small white flower that adds a subtle touch of femininity. The adornment, though small, enhances her graceful appearance, further elevating her aristocratic charm. The overall effect of Mademoiselle de Lancey’s attire and appearance suggests a refined, cultivated woman, fully aware of her status and the expectations placed upon her by society.

The Setting

The setting in which Mademoiselle de Lancey is portrayed is equally important in defining her character. She reclines on an opulent, plush sofa that is covered in rich, patterned fabric. The cushions are arranged with meticulous care, their colors—deep reds and golds—contrasting beautifully with the whiteness of her gown. The sofa serves as a symbol of wealth and luxury, its intricate patterns and rich textures suggesting the social status that the subject holds.

Behind her, the dark background, painted in deep browns and blacks, contrasts with the brightness of her gown, creating a striking visual effect that draws the eye directly to her. The background is not overtly detailed, but rather serves as a backdrop that enhances the focus on the figure. It exudes a sense of timelessness, as though the setting itself is secondary to the woman’s presence. The simplicity of the background emphasizes the subject’s prominence in the composition, drawing the viewer’s attention solely to her and her attire.

Materials and Technique

Carolus-Duran’s technique in this portrait is remarkable for its precision and fluidity. The use of oil paints allows the artist to achieve the depth of color and fine detail for which he is known. The rich textures of the fabric, from the silk of the gown to the velvet of the cushions, are portrayed with remarkable accuracy. The play of light and shadow is masterfully handled, particularly in the way it falls across Mademoiselle de Lancey’s face and gown, giving the figure a sense of volume and presence. The folds of the gown, carefully painted to show the weight and texture of the fabric, demonstrate Duran’s ability to depict clothing with exceptional realism.

The brushwork is delicate, with soft transitions between light and shadow that create a sense of three-dimensionality. The smooth, almost velvety texture of the skin, the sheen of the fabric, and the subtle reflections in the eyes are rendered with exquisite detail. The artist’s handling of light—both the highlights on the skin and the soft shadows under the chin—adds to the lifelike quality of the portrait. Duran’s ability to convey the softness of the skin and the detailed textures of the fabric speaks to his exceptional training and his understanding of the materials he was working with.

Mood and Theme

The mood of “Mademoiselle de Lancey” is one of serene elegance and quiet sophistication. The subject’s calm and contemplative expression, combined with her luxurious surroundings, evokes a sense of aristocratic refinement. The soft, natural lighting enhances this mood, adding a warmth to the figure and making her appear approachable, despite her aristocratic attire. There is a subtle tension between the subject’s inner world—her contemplation—and the external world of high society, which is represented through her elaborate dress and the opulence of the setting.

The theme of the painting is closely tied to the social realities of 19th-century French aristocracy. It captures the cultural ideals of beauty, grace, and poise, embodying the expectations placed upon women of the upper classes during that period. The portrait speaks to the roles women were expected to play—elegant, reserved, and composed—while also hinting at the private world that lay beneath the public exterior. In this way, the painting subtly reflects the tension between outward appearances and inner lives, a theme that resonates with viewers even today.

Conclusion

Carolus-Duran’s “Mademoiselle de Lancey” (1876) is a masterful example of 19th-century portraiture, showcasing the artist’s skill in capturing both the physical likeness and the emotional depth of his subject. Through meticulous attention to detail, a refined sense of light and shadow, and an elegant composition, Duran succeeds in immortalizing the grace and beauty of Mademoiselle de Lancey. The portrait is not just a depiction of a young woman; it is a reflection of a specific moment in time—an era of elegance, sophistication, and societal expectations. The painting stands as a testament to the skill of its creator and the timeless allure of its subject.

Mademoiselle de Lancey (1851 – 1913) c1876 by French Painter Carolus-Duran (Charles Auguste Émile Durant – 1837 – 1917); was one of the most renownes portrait painters of high society in the French Third Republic.

Mademoiselle de Lancey is a retouched digital art old masters reproduction of a public domain image.

Artist Bio From Wikipedia.org

Carolus-Duran was the son of a hotel owner. His first drawing lessons were with a local sculptor named Augustin-Phidias Cadet de Beaupré (1800 – ?) at the Académie de Lille; then took up painting with François Souchon,[2] a student of Jacques Louis David. He went to Paris in 1853, where he adopted the name “Carolus-Duran”.

In 1859, he had his first exhibition at the Salon. That same year, he began attending the Académie Suisse, where he studied until 1861. One of his early influences was the Realism of Gustave Courbet.

From 1862 to 1866, he travelled to Rome and Spain, thanks to a scholarship granted by his hometown. During that time, he moved away from Courbet’s style and became more interested in Diego Velázquez. Upon returning to France, he was awarded his first gold medal at the Salon.

In 1867, he became one of the nine members of the “Société Japonaise du Jinglar” (a type of wine); a group that included Henri Fantin-Latour, Félix Bracquemond and Marc-Louis Solon. They would meet once a month in Sèvres for a dinner “à la Japonaise”.

He married Pauline Croizette, a pastellist and miniaturist who had posed for his painting “The Lady in Gloves” in 1869.[6] They had three children. Their eldest daughter, Marie-Anne, married the playwright Georges Feydeau.

After 1870, he devoted himself almost entirely to portraits. His success allowed him to open a studio on the Boulevard du Montparnasse, where he also gave painting lessons. He was named a Knight in the Légion d’honneur in 1872; being promoted to Officer in 1878, Commander in 1889 and Grand Officer in 1900.

In 1889 and 1900 he served on the juries at the Expositions Universelles. In 1890, he was one of the co-founders of the second Société Nationale des Beaux-Arts and he was elected a member of the Académie des Beaux-Arts in 1904. The following year, he was appointed Director of the French Academy in Rome, a position he held until 1913.

He was a frequent visitor to the resort at Fréjus, where he owned a small villa. Following his death, the resort named a plaza and a beach after him.