The Princesse de Broglie

{{lang|fr|Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn|italic=no}} (1825–1860) married Albert, 4th Duke de Broglie on 18 June 1845, and they had five sons together. On the occasion of their marriage, they styled themselves 'Princesse' and 'Prince' respectively, due the former title of 'Prince of the Holy Roman Empire' granted to the House of Broglie (1759). {{lang|fr|Pauline|italic=no}} was a highly intelligent and religious woman, who was well read and wrote a number of texts over her lifetime. Her shyness was well known; she was widely considered strikingly beautiful and charming, but those around her would often avoid eye contact so as not to embarrass her. {{lang|fr|Albert|italic=no}} was devoted to his wife, and commissioned the painting after being impressed by {{lang|fr|Ingres|italic=no}}'s 1845 portrait of his sister, the {{lang|fr|Comtesse d'Haussonville|italic=no}}.Naef (1966), p. 274

{{lang|fr|Albert|italic=no}} approached {{lang|fr|Ingres|italic=no}} around 1850 to undertake the portrait. {{lang|fr|Ingres|italic=no}} dined with the {{lang|fr|de Broglie|italic=no}} family in January 1850, and according to one eyewitness, "seemed to be very happy with his model".

File:Duc Albert de Broglie par E.Appert.JPEG|italic=no}}, the 28th Prime Minister of France]]

Although {{lang|fr|Ingres|italic=no}}'s chief source of income came from portraiture, it distracted from his main interest in history painting, which early in his career, was far less lucrative. He found acclaim in the 1840s, when he became successful enough to no longer depend on commissions.Tucker (2009), p. 13 This painting was {{lang|fr|Ingres|italic=no}}'s second-last female portrait, and final society portrait.Tinterow (1999), p. 449 Influenced by the working methods of {{lang|fr|Jacques-Louis David, Ingres|italic=no}} began with a number of nude preparatory sketches, for which he employed professional models. He built up a picture of the sitter's underlying anatomical structure, as seen in the {{lang|fr|Musée Bonnat|italic=no}} study, before deciding how to build the lavish costume and accessories. Although there is no surviving record of the commission, and the exact sequence of events is uncertain, the sketches can be dated from 1850, the year the style of her evening dress came into fashion. {{lang|fr|Ingres|italic=no}} signed and dated the final picture at the left center "J. INGRES. pit 1853".

{{lang|fr|Pauline|italic=no}} died in 1860 aged 35 from tuberculosis. After her death, {{lang|fr|Albert|italic=no}} published three volumes of her essays on religious history.Tinterow (1999), p. 447 {{lang|fr|Albert|italic=no}} (who, in 1873, became the 28th Prime Minister of France) lived until 1901, but was heartbroken and did not remarry. He kept her portrait for the remainder of his life draped in fabric and hidden behind a velvet curtain, lending it only to select exhibitions. After his death, the painting passed within the family until 1958 when it was sold to the Metropolitan Museum of Art via the banker and art collector Robert Lehman,Tinterow (1999), p. 454 and is today held in the Lehman Wing. The family kept most of the jewelry and accessories seen in the painting, although the marabou feathers were sold to the Costume Institute of the Metropolitan Museum.

There are comparatively few extant preparatory sketches for the {{lang|fr|de Broglie|italic=no}} painting compared to other of his later period portraits. {{lang|fr|Ingres|italic=no}}'s usual technique was to use sketches both to plot the final work and to provide guidance for assistants on whom he relied to paint in the less important passages. Some others have been lost or destroyed.Brettell et al (2009), p. 452Tucker (2009), p. 17

The extant sketches date from 1850 to 1853 and are drawn with graphite on paper or tracing paper. They vary in elaboration and detail, but show {{lang|fr|Ingres|italic=no}} thinking through the eventual form and pose of the sitter. The earliest consists of a brief sketch of the princess in a seated pose.Tucker (2009), p. 16 There is a full-length study of a nude standing in essentially the final pose, in which {{lang|fr|Ingres|italic=no}} experimented with two different positions of the crossed arms. A second full-length study shows a clothed figure. Two others are focused on her hands. A highly finished drawing of the princess standing with her left hand at the neck and dressed in a simpler costume than in the painting, may be a study for the painting or an independent work. Besides these five or six extant sketches, about the same number are known to be lost.

File:Ingres Study for a Portrait of the Princesse de Broglie (c).jpg|alt=Sketch showing two seated figures|Study for a Portrait of the {{lang|fr|Princesse de Broglie}}, {{circa|1850–51}}

File:Ingres Study for a Portrait of the Princesse de Broglie (a).jpg|alt={{lang|fr|de Broglie|italic=no}} standing, with her left arm raised towards her neck|{{lang|fr|Princesse de Broglie}}, {{circa|1851–52}}. Graphite on paper, 31.2x23.5{{nbs}}cm. Private collection.

File:Ingres Study for a Portrait of the Princesse de Broglie.jpg|alt=Nude study|Study, {{circa|1852–53}}. Graphite on paper, 30x16{{nbs}}cm. {{lang|fr|Musée Bonnat, Bayonne|italic=no}}.

File:Ingres Study for a Portrait of the Princesse de Broglie (b).jpg|alt={{lang|fr|de Broglie|italic=no}} seated, with arms crossed over her lap|Study, {{circa|1852–53}}. Graphite and red chalk on paper, 27.8x17.5{{nbs}}cm. Location unknown.

The painting's central motifs were already established in the earliest studies, in which her oval face, arched eyebrows, and habit of folding her arms with one stuffed into the opposing sleeve appear. {{lang|fr|Ingres|italic=no}} found the sittings difficult and agonised over every detail. He wrote to his friend and patron {{lang|fr|Charles Marcotte|italic=no}} that he was "killing [his] eyes on the background of the {{lang|fr|Princesse de Broglie|italic=no}}, which I am painting at her house, and that helps me advance a great deal; but, alas, how these portraits make me suffer, and this will surely be the last one, excepting, however, the portrait of [his second wife] {{lang|fr|Delphine|italic=no}}."The painting of his wife {{lang|fr|Delphine|italic=no}} was to be his last female portrait. See Wolohojian (2003), p. 206

File:Princesse de Broglie Head.jpg feathersTaylor (2002), p. 122]]

The {{lang|fr|Princesse de Broglie|italic=no}} is shown in three-quarters view, her arms resting on a lavishly upholstered, pale gold damask easy chair. Her head is tilted to the viewer's left, and her black hair tightly pulled back and bound by blue satin ribbons.Tucker (2009), p. 11 She is pictured in the family home at 90 {{lang|fr|rue de l'Université|italic=no}} in Paris, in an evening dress that implies she is about to go out for the evening.Marandel (1987), p. 72 She is dressed in the height of contemporary Parisian fashion,Naef (1966), p. 276 in particular the opulent Second Empire fashions then current in clothing, jewelry and furniture. She wears a gold embroidered evening shawl, and an off-the-shoulder, pale blue satin hoop skirt gown, with short sleeves and a lace and ribbon trim, highly emblematic of 1850s evening dress. Her hair is covered with a sheer frill trimmed with matching blue ribbon knots, and is swept back with a centre parting.

Her adornments include a necklace, tasseled earrings and bracelets on each wrist. Her pendant with {{lang|fr|cross pattée}} signifies her piety, and was perhaps designed by {{lang|it|Fortunato Pio Castellani|italic=no}} or {{lang|fr|Mellerio dits Meller|italic=no}}.Amory, Dita (2016). "[http://www.metmuseum.org/art/collection/search/459106 Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie]". Catalogue Entry. Metropolitan Museum of Art. Retrieved 23 September 2017 Her earrings are made from cascades of small natural pearls. Her left wrist has a bracelet of roped pearls; the one on her right is made of enameled red and diamond set gold links. The necklace is held by a double looped chain holding a gold pendant, which appears to be an original Roman bulla.McConnell (1991), p. 38

File:Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie MET DP244536.jpg

As with all of {{lang|fr|Ingres|italic=no}}'s portraits of women, her body seems to lack a solid bone structure. Her neck is unusually elongated, and her arms seem boneless or dislocated, while her left forearm appears to be under modeled and lacking in musculature.Harris, Beth; Zucker, Steven. "[https://www.youtube.com/watch?v=sQpAYcxSVEg&list=FLb0J_orflcWABYlmV-cyMzQ&index=2 Ingres, Princesse de Broglie]". Khan Academy, October 2009. Retrieved 23 September 2017 Her oval face and her expression are idealised, lacking the level of detail given to other foreground elements, although she was widely known as a great beauty.

The painting is composed of gray, white, blue, yellow and gold hues.Rosenblum (1990), p. 118 The costume and decor are painted with a supreme precision, crispness and realism that art historians have compared to the work of Jan van Eyck.Rosenblum (1990), p. 32 In many ways the painting is austere; art historian Robert Rosenblum describes a "glassy chill", and "astonishing chromatic harmonies that, for exquisite, silvery coolness, are perhaps only rivaled by Vermeer".Rosenblum (1990), p. 37 Her facial features are statuesque and in places display the quality of porcelain. The painting contains a number of {{lang|it|pentimenti|italic=no}}, including around the contours of her hair, and the yellow chair. There are horizontal bands about 2.5{{nbs}}cm wide in yellow paint on either side of her head near the earrings. They seem to have been used to plot the positioning of the moldings. The black hat on the chair seems to have been a late addition. There are visible passages of underdrawing where the artist seems to trace out shapes and positions, established in the preparatory sketches, onto the grounded canvas. These include squared lines around the left shoulder and chest areas. There are lines mapping out the throat and top edge of the bodice.Hale (2000), p. 206

File:Ingres Portrait of the Princesse de Broglie Coat of Arms.jpg

Compared to the Portrait of {{lang|fr|Comtesse d'Haussonville}}, or most of {{lang|fr|Ingres|italic=no}}'s later portraits, the background is flat and featureless, probably to place emphasis on the coat of arms.Davies (1934), p. 241Martin Davies described the background as "snobbishly bare". See Davies (1934), p. 241 It comprises a neutral soft pale gray and evenly textured wall, with a linear structured gilded wood mouldings, and a fictitious coat of arms combining the heraldics of the {{lang|fr|de Broglie|italic=no}} and {{lang|fr|de Bearn|italic=no}} families. The grey wall is underlined with a barely discernible deep blue pigment. This minimalist approach reflects the "ascetic elegance" of his early female portraits, where the sitter was often set against featureless backdrops. The precisely rendered details and geometric background create an impression of immobility, though subtle movement is implied by the tilt of her head and the shimmering folds of her dress.Tucker (2009), pp. 11–13

The current frame measures 157{{nbs}}× 125.6{{nbs}}cm at the exterior and is made of pink-orange pine,Newbery (2007), p. 344 lined with a garland of gilt-plastered ornament flowers. Its ornaments lie on ovolo molding. It was produced in the United States between 1950 and 1960 (around the time the Metropolitan acquired the work) in the French Louis XIII style fashionable in {{lang|fr|Ingres|italic=no}}'s period. It is similar to, and probably modeled on, the frame used for {{lang|fr|Madame Moitessier}}, which is most likely an original and is dated 1856.Tinterow (1999), p. 452 The original {{lang|fr|de Broglie|italic=no}} plaster frame was made in 1860 at the latest, and is thought to have been similar to the current one.

File:Dominique Ingres - Mme Moitessier.jpg, 1856. National Gallery, London.]]

The painting remained in {{lang|fr|Ingres|italic=no}}'s possession until 1854,Naef (1966), p. 275 when it was first exhibited that December in his studio, alongside his unfinished {{lang|fr|Madame Moitessier}} ({{circa|1844–1856}}), Portrait of {{lang|it|Lorenzo Bartolini}}, and {{circa|1808}} Venus Anadyomene.Tinterow (1999), p. 451 One critic wrote that the painting showed {{lang|fr|Pauline|italic=no}} as "refined, delicate, elegant to her finger tips{{nbs}}... a marvelous incarnation of nobility." In general, it is held in the same high regard as {{lang|fr|Ingres|italic=no}}'s {{lang|fr|Comtesse d'Haussonville}}, and Portrait of Baronne de Rothschild.

The work was an instant critical and popular success, and widely admired and written about. Most critics understood the artfulness of physical deformations, although one writer, writing under the byline A. de. G., and representing a minority, academic view, describes her as a "puny, wilted, sickly, woman; her thin arms rest on an armchair placed in front of her. M. {{lang|fr|Ingres|italic=no}} has rendered in an unheard-of manner these large, veiled eyes, deprived of sight. He has given this face a negative expression that he must have seen in real life, and reproduced it with a sure touch." The majority of critics noted {{lang|fr|Ingres|italic=no}}'s attention to detail in describing her clothes, accessories and decor, and saw an artist at the height of his creativity, with a few invoking the precision of van Eyck.Tinterow (1999), pp. 451–52 Some writers detected a hint of melancholy in de Broglie's eyes and expression.

{{reflist|30em}}

{{refbegin}}

• Betzer, Sarah. Ingres and the Studio: Women, Painting, History. University Park, PA: Pennsylvania State University Press, 2002. {{ISBN|978-0-2710-4875-8}}
• Brettell, Richard; Hayes Tucker, Paul; Henderson Lee, Natalie. The Robert Lehman Collection III. Nineteenth and Twentieth-Century Paintings. New York: Metropolitan Museum of Art, 2009. {{ISBN|978-1-5883-9349-4}}
• Davies, Martin. "An Exhibition of Portraits by Ingres and His Pupils". The Burlington Magazine for Connoisseurs, volume 64, no. 374, 1934
• Hale, Charlotte; "Technical Observations". In: Bertin, Eric; Tinterow, Gary. 'Portraits by Ingres: Image of an Epoch': Reflections, Technical Observations, Addenda, and Corrigenda. Metropolitan Museum Journal, volume 35, 2000
• Marandel, Patrice. Europe in the Age of Enlightenment and Revolution. Metropolitan Museum of Art, 1987. {{ISBN|978-0-8709-9451-7}}
• McConnell, Sophie. Metropolitan Jewelry. New York: Metropolitan Museum of Art, 1991
• Naef, Hans. "Eighteen Portrait Drawings by Ingres". Master Drawings, volume 4, no. 3, 1966. {{JSTOR|1552844}}
• Newbery, Timothy. Frames in the Robert Lehman Collection. NY: Metropolitan Museum of Art Publications, 2007. {{ISBN|9-781-5883-9269-5}}
• Rosenblum, Robert. Ingres. London: Harry N. Abrams, 1990. {{ISBN|978-0-300-08653-9}}
• Taylor, Lou. The Study of Dress History. Manchester: Manchester University Press, 2002. {{ISBN|978-0-7190-4065-8}}
• Tinterow, Gary. Portraits by Ingres: Image of an Epoch. New York: Metropolitan Museum of Art, 1999. {{ISBN|978-0-300-08653-9}}
• Tucker, Paul. Nineteenth- And Twentieth-Century Paintings in The Robert Lehman Collection. New York: Metropolitan Museum of Art, 2009. {{ISBN|978-1-5883-9349-4}}
• Wolohojian, Stephan. "A Private Passion: 19th-Century Paintings and Drawings from the Grenville L. Winthrop Collection, Harvard University". New York: Metropolitan Museum of Art, 2003. {{ISBN|978-1-5883-9076-9}}

{{refend}}

• [http://www.metmuseum.org/art/collection/search/459106 MET catalogue entry]
• [https://www.youtube.com/watch?v=sQpAYcxSVEg&list=FLb0J_orflcWABYlmV-cyMzQ&index=2 Smarthistory video] (Khan Academy)

{{Jean Auguste Dominique Ingres}}

{{DEFAULTSORT:Princesse De Broglie}}

Category:1851 paintings

Category:1853 paintings

Category:Portraits by Jean-Auguste-Dominique Ingres

Category:Paintings in the Metropolitan Museum of Art

Category:Portraits of women