A quick question, which you may have covered already! (Ah, Tumblr search...)
Which portrait of young Lafayette is considered to be the most accurate? There are quite a few, and while some of his features remain fairly consistent, there's certainly variety too (and, of course, artists loved to flatter their rich and important subjects).
Thanks! 💕
My dear @my-deer-friend,
A quick question and a very slow response. I am so sorry but as they say: Was lange währt, wird endlich gut …
Since I am not quite sure what specific age spectrum you had in mind, I am going to give a broad response.
There are three portraits of La Fayette in his early youth (pre-teen to early teenage years), although one of them I have only seen referenced in writing. There are not many descriptions of La Fayette during this time of his life, but still these portraits can be considered quite accurate, based on what we do know.
I know of three or so portraits of La Fayette in his mid to late teen years – there are even less physical descriptions of La Fayette from that time. One of these portraits is part of set of portraits, made of La Fayette and Adrienne shortly before their wedding. If you were to ask me, that portrait is indeed too flattering.
Once La Fayette came to America, we have two paintings of him (or featuring him) by Charles Willson Peale and I would consider them the most accurate depictions we have of him in his younger years. Do I find them artistically pleasing and generally well done? Honestly, no, but they tick many important boxes.
Then there is also this print.
This print has many variations (different angles, standing, sitting, looking to the side, looking at the viewer) and that alone makes assessment difficult. But these types of prints are closely linked to each other and to the bust by Houdon. Houdon was not only extremely skilled, he also took a life mask from La Fayette, therefor having a perfect cast of his features. The paintings by Peale show more detail and is easier to pin to a specific date/age but I would nevertheless consider these prints (with all the restrictions and problems listed above) to be faithful representations.
I hope this helps and was not too late and I hope you had a wonderful day!
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Grumpy Dumouriez by Houdon (Angers' Beaux Arts museum)
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Preußisch Blau und Lutherisch Schwarz: oder -Leutnant von Kleist und Generalsuperintendent Löffler Folge 18 Friedenstein
Folge 18 Ankunft auf dem Friedenstein
Noch kann sich zu unserem Kummer der Winter im Saaletal festklammern – überraschend für diese Breiten. Sogar Eisblumen an den Scheiben, welch eine Ästhetik ! Edda hat sich gut auf den zweiten Teil der Präsentation der “Gotha-Papiere” vorbereitet, wie vordem bin ich ganz Ohr und Gefühl für unseren Josias Löffler, Generalsuperintendent, aber ohne Professur –…
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A WHITE MARBLE BUST OF MARÉCHAL SOULT (1769-1851) by Jean-Antoine Houdon (Versailles 1741-1828 Paris), 1813)
'There are only two known marble busts of Maréchal Soult by the great French sculptor Jean-Antoine Houdon. The first was created for the salle des Maréchaux in the Palais des Tuileries and was displayed among other portrait busts of France's leading marshals, generals and navy men. However the bust disappeared in 1871 following the great fire at the Tuileries. The second bust was given to Soult's family, and is mostly likely the present sculpture. This second bust is recorded to be dated 1812, while our bust is dated 1813. However, the pen inscription to the reverse indicates that the bust descended from the family of Count Pierre de Mornay Soult de Dalmatie, Marquis de Mornay Montchevreuil (1837-1905), who was the grandson of Maréchal Soult via Soult's daughter, Joséphine Louise Hortense Soult de Dalmatie (1804-1862).'
(Source)
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Jean-Antoine Houdon (French, 1741-1828)
St. John the Baptist, 1766-67
All four Gospels place their discussions of Jesus’s ministry in the context of the work of John the Baptist, who is presented as the one who points the way to the kingdom of God and to Jesus as the one predicted by scripture to bring this kingdom into being.
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▪︎ Winter.
Artist: Jean Antoine Houdon (French, Versailles 1741–1828 Paris)
Date: 1787
Culture: French, Paris
Medium: Bronze
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Diana
Jean-Antoine Houdon (1741-1828)
France
Museu Calouste Gulbenkian
Lisboa
foto cjmn
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V's bust by Houdon in Versailles (1) and the Louvre (2)
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«Por tanto, a fin de que este pacto social no sea una vana fórmula, encierra tácitamente este compromiso: que sólo por sí puede dar fuerza a los demás, y que quienquiera se niegue a obedecer la voluntad general será obligado a ello por todo el cuerpo. Esto no significa otra cosa sino que se le obligará a ser libre, pues es tal la condición, que dándose cada ciudadano a la patria le asegura de toda dependencia personal; condición que constituye el artificio y el juego de la máquina política y que es la única que hace legítimos los compromisos civiles, los cuales sin esto serían absurdos, tiránicos y estarían sujetos a los más enormes abusos.»
Jean-Jacques Rousseau: Contrato social. Espasa Calpe, pág. 49. Madrid, 2007.
TGO
@bocadosdefilosofia
@dies-irae-1
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