Adélaïde Labille-Guiard (1749–1803)

Circle or follower of Adélaïde Labille-Guiard (1749–1803) Portrait of Madame Victoire de France (1733–1799) French School. End of the 18th century – beginning of the 19th century. Elegant and interesting oil on canvas from the French school, stylistically dated between the late 18th century and the early 19th century, related to the artistic production of Adélaïde Labille-Guiard (1749–1803), one of the most important portraitists of France in the Ancien Régime. The painting depicts Marie-Thérèse-Victoire de France (1733–1799), known as Madame Victoire, daughter of King Louis XV of France and Queen Marie Leszczyńska, belonging to the Bourbon dynasty. The work presents notable stylistic and iconographic affinities with the portraits of Madame Victoire made by Adélaïde Labille-Guiard during the 1780s. Due to its compositional characteristics, its pictorial language and its proximity to the artist’s models, it is possible to consider that the painting was executed by a painter from her close circle, by a member of her workshop, or by a follower of her portrait production. The composition constitutes an attractive example of the tradition of French aristocratic portraiture in the transition between late Rococo and Neoclassicism, characterized by the elegance of representation, the delicacy of the flesh tones and a special attention to the psychological expression of the subject. Adélaïde Labille-Guiard (1749–1803) Adélaïde Labille-Guiard was born in Paris in 1749 and died in the same city in 1803. She was one of the leading French painters of the 18th century and a fundamental figure in the history of European portraiture. She developed a distinguished artistic career in a time when access for women to academic institutions and major official commissions was considerably restricted. Her artistic training was linked to the tradition of French portraiture, initially cultivating miniature and pastel before achieving notable mastery of oil painting. In 1783 she was admitted to the prestigious Académie royale de peinture et de sculpture, one of the main recognitions an artist in the Ancien Régime could receive in France. Her production is characterized by the precision of drawing, the delicacy of flesh tones, the elegance of compositions and an extraordinary sensitivity in representing fabrics, laces and ornamentation of clothing. Among her clients were members of the aristocracy and the French royal family, especially Louis XV’s daughters, known as Mesdames de France. During the 1780s she produced important portraits of Madame Adélaïde and Madame Victoire, noted for her ability to combine the dignity of official representation with remarkable naturalness in her models’ expressions. Labille-Guiard was also a prominent advocate of women’s artistic training and maintained significant teaching activity, contributing to the professional recognition of women painters. Her production represents one of the most refined moments of late 18th-century French portraiture, in the transition between Rococo sensitivity and the new aesthetic ideals of Neoclassicism. Madame Victoire de France (1733–1799) Marie-Thérèse-Victoire de France, known as Madame Victoire, was born on May 11, 1733, at the Palace of Versailles and died on June 7, 1799, in Trieste. She was one of Louis XV of France and Marie Leszczyńska’s daughters, belonging by birth to the French branch of the Bourbon dynasty. As a royal daughter she bore the title Fille de France, a distinction reserved for the king’s children. For much of her life she resided at the court of Versailles, where she participated in the ceremonial and cultural life of the French monarchy. Madame Victoire maintained a close relationship with her sister Madame Adélaïde, with whom she shared much of her life. Both princesses held a prominent position within the royal family during the reigns of Louis XV and Louis XVI. Unlike other princesses of her time, Madame Victoire never married. During the final years of the Ancien Régime she was portrayed by some of the court’s most important artists, among them Adélaïde Labille-Guiard. With the outbreak of the French Revolution and the progressive deterioration of the monarchy’s situation, Madame Victoire and her sister left France in 1791. After settling in different Italian territories, Madame Victoire died in Trieste in 1799, during her exile. Her figure constitutes an important testimony to the history of the French monarchy in the decades preceding the Revolution. Description of the work The painting represents Madame Victoire de France, half-length portrait against a dark and neutral background that concentrates attention on her face and the richness of her attire. The princess appears in a frontal pose, with the face slightly turned and a serene, reserved expression of notable dignity. Her gaze, directed discreetly to the side, conveys a sense of calm and contemplation, features that contribute to the intimate character of the composition. The depicted woman wears an elaborate powdered hairstyle, high and arranged, characteristic of the French aristocratic fashion of the late 18th century. The hair, in grayish and silvery tones, is ornamented with a succession of blue ribbons, carefully distributed over the top of the head. These adornments provide a delicate chromatic contrast and reinforce the courtly elegance of the representation. The face features soft features, lightly rosy cheeks, eyes with a tranquil expression and finely outlined lips. The treatment of the flesh tones stands out for its tonal transitions and the softness of the modeling, especially evident on the cheeks, forehead and neck. The princess wears an elegant gown in reddish and pinkish tones, enriched with a wide white lace neckline and delicate textile adornments. Across the chest stands a large blue bow, its ends descending vertically over the dress and constituting one of the main ornamental elements of the composition. The combination of the intense blue of the ribbons with the warm tones of the dress introduces an attractive chromatic balance. The lace of the neckline is rendered with light, delicate brushstrokes, intended to suggest the transparency and lightness of the fabric. The background, dark and devoid of narrative elements, reinforces the presence of the figure and contributes to giving the portrait an intimate and solemn atmosphere. Relation to the circle and workshop of Adélaïde Labille-Guiard The painting shows a close stylistic and iconographic relationship with Labille-Guiard’s production, especially the female portraits made by the artist during the last decades of the 18th century. Labille-Guiard was one of the principal portraitists of the French royal family and produced important representations of Louis XV’s daughters. Among her best-known works are the portraits of Madame Adélaïde and Madame Victoire, executed during the 1780s. The present painting shares with this portrait tradition several characteristic elements: the figure’s placement against a dark background, attention to the details of clothing, the delicacy of facial modeling, and the dignity of the expression. Especially interesting is the representation of the powdered hairstyle and textile adornments, fundamental elements of French court fashion of the period. The composition maintains a sober and elegant conception, in which the subject and her expression take center stage. Adélaïde Labille-Guiard developed significant teaching activity and had pupils who trained directly under her direction, so her artistic language continued within her immediate circle. The stylistic and iconographic proximity of the present painting to the portraits made by Labille-Guiard allows considering, as a hypothesis, an execution within her artistic circle and even in her workshop, not excluding the involvement of a follower who worked from her models. This relationship is especially interesting as it concerns a representation of Madame Victoire, a figure directly linked to the portrait production of the artist. Style and artistic influences From a stylistic point of view, the painting is set in the tradition of late 18th-century French court portraiture, showing affinities with the production of Adélaïde Labille-Guiard and with the artistic language developed by the leading portraitists of the period. The composition follows a classic aristocratic portrait scheme, in which the figure is presented against a dark background, with particular attention to the expression of the face and the details of the clothing. The representation of fabrics, the hairstyle and adornments are fundamental elements in conveying the social status of the portrayed. The work preserves characteristics typical of Rococo sensibility, especially in the ornamental treatment of bows, lace and textile elements. At the same time, the sobriety of the background and the relative expressive restraint announce the approaches of Neoclassical portraiture, which gained increasing importance during the last decades of the 18th century. The treatment of the figure shows a will toward naturalism, especially evident in the flesh tones and in the representation of the gaze. These features allow relating the painting to the French artistic milieu in the transition between the Ancien Régime and the beginning of the 19th century. Technique and painting treatment The work is oil on canvas. The composition presents a particularly careful execution in the areas of the face, where smooth transitions between light and shadow dominate. The flesh tones are built with a range of pinks, light ochers and grays, intended to reproduce the softness of the skin and the nuances of expression. The powdered hair is worked through a succession of grayish and whitish tones, with small luminous accents that allow distinguishing the different volumes of the hairstyle. The blue ribbons introduce a chromatic note of special intensity and are represented through tonal variations that suggest the folds of the fabric. In the dress, reddish and brown tones combine with whites and creams of the lace, generating an interesting richness of tonalities. The darkness of the background serves to highlight the modeling of the face and the luminosity of the textile elements. The result is a portrait of notable elegance, which combines the representational character of court painting with an intimate interpretation of the female figure. Condition report The painting shows signs of age and wear typical of its historical trajectory, with small losses of polychromy, surface alterations and signs of aging of the materials. On the reverse, the canvas is mounted on a wooden frame with a horizontal crossbar. At the bottom of the reverse there are traces of an old mold presence, which has been treated and is currently inactive. The residual stains remain visible on the fabric, without affecting the frontal presentation of the work. It is recommended to carefully inspect all photographs, which are part of the description, to adequately assess the conservation state of the painting and its framing. Frame and presentation The work is presented framed with a gilded frame of classical ornamentation, decorated with vegetal motifs and repetitive reliefs. The frame contributes to an elegant presentation and is suitable for the historical and aristocratic character of the portrait. The frame is offered as a gift to the buyer, with no commercial value, and is not an integral part of the work, so any potential damage to it will not be a reason for complaint. Specifications Author: circle or follower of Adélaïde Labille-Guiard (1749–1803), with possibility of execution in her workshop. School: French. Proposed chronology: late 18th century – early 19th century. Technique: oil on canvas. Genre: aristocratic portrait. Subject: Madame Victoire de France (1733–1799). Style: French court portrait, transition between Late Rococo and Neoclassicism. Presentation: framed. Shipping The work will be carefully and professionally packed, using protective materials appropriate to ensure its safety during transport. Shipments to destinations outside the European Union may be subject to taxes, duties, customs fees and/or clearance charges. These potential costs will be the sole responsibility of the buyer and are not included in the hammer price or shipping costs. Also, shipments to islands, insular territories or remote or hard-to-access areas, as deemed by the transport companies, may incur additional charges. Any surcharge applied by the transport company for this reason must be borne by the buyer.

Estimación:€2,200

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