ANTOINETTE PAINTING SERIES
The tapestry was commissioned by the financier and court banker, Nicolas Beaujon (see letter dated 5 October 1774, to d' Angivillers, Directeur des Bâtiments).ĭrouais' portrait was also used as a model for a series of painted portraits executed by the copyists of the 'Cabinet du Roi' in order to multiply the effigy of the Dauphine - see the portrait of Marie-Antoinette, Inv. In fact, the tapestry reproduces the exact same garments and jewels as the V&A painting. 529-1882 portrays the Dauphine, Marie-Antoinette (1755-1793), consort of the Grand Dauphin Louis and future Queen of France, in a lavish court dress embroidered with a rose pattern and sumptuous jewels, which appears quite rare in Marie-Antoinette's iconography.ĭespite the scepticism of the critics at the time about this series of portraits, which lack of vitality and likeness, the paintings achieved quite a great success and 529-1882 was probably chosen as the model for the tapestry made by the Cozette father and son in the Gobelins Manufactory (Chambre de Commerce et d'Industrie, Bordeaux), which is inscribed on left with "Drouais pit en 1773" and, on the right, with "Cozette ext en 1774". The present painting reuses the exact same pose and face but with different garments. Historical significance: This painting appears to be one of several versions derived from an earlier portrait of Marie-Antoinette as Hebe, goddess of youth, executed by the same painter Drouais for Louis XV of France in 1772 and currently in the Musée Condé, Chantilly. Jones was well pleased if he could collect enough pictures to ornament the walls of his rooms, and which would do no discredit to the extraordinary furniture and other things with which his house was filled." and other things, p.138, "The pictures which are included in the Jones bequest are, with scarcely a single exception, valuable and good and many of them excellent works of the artists. This gives a room-by-room guide to the contents of John Jones' house at No.95, Piccadilly.Ĭhapter VI. Published for the Committee of Council on Education by Chapman and Hall, Limited, 11, Henrietta Street. See also South Kensington Museum Art Handbooks. Jones bequeathed an important collection of French 18th-century furniture and porcelain to the V&A, and among the British watercolours and oil paintings he bequeathed to the V&A are subjects which reflect his interest in France. After the Marquess of Hertford and his son Sir Richard Wallace, Jones was the principal collector in Britain of French 18th century fine and decorative arts. Lived quietly at 95 Piccadilly from 1865 to his death in January 1882. He retired in 1850, but retained an interest in his firm. Often visited Ireland, travelled to Europe and particularly France. John Jones (1800-1882) was first in business as a tailor and army clothier in London 1825, and opened a branch in Dublin 1840. Victoria & Albert Museum, HMSO, London, 1990. Ref : Parkinson, Ronald, Catalogue of British Oil Paintings 1820-1860. In 1773 which is in the Musée Condé, Chantilly. en 1773, Drouais, who was a fashionable portrait painter, also painted a larger portarit of Marie Antoinette This painted served as a model for a tapestry portrait made by Michel-Henri Cozette in 1774 which is inscribed Drouais Pixt. PAINTED IN 1773 WHILE SHE WAS STILL A DAUPHINE.
"MARIE ANTOINETTE, QUEEN OF FRANCE (1775-93) AT THE AGE OF 17. The following is the label text from 1971 for Gallleries 1-7 of the V&A:.Le maître reproduisit ensuite le visage à l'identique sur des portraits décrivant cette fois-ci la dauphine en habit de cour. En 1773 Drouais peignit un portrait mythologique montrant Marie-Antoinette en Hébé (Chantilly, Musée Condé).They used grease made from bear’s fat and big spiky pins to hold it all in place.Ĭreate your own huge hairstyle by playing Design a Wig at To make their hair taller they sometimes used padding made of cow hair. When Marie-Antoinette was queen of France it was fashionable for women to have huge hairstyles. A leader of fashion, Marie-Antoinette was at first celebrated for her taste but came to be criticised for her extravagance. She wears formal court dress: a silk gown with embroidered stomacher, needle lace and silver trimmings, and a jewelled necklace. She was already married to the future king Louis XVI, and a year later would be queen.
Marie-Antoinette is shown here at the age of 17.
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