Artwork Title: Comtesse d'Egmont Pignatelli in Spanish Costume

Comtesse d'Egmont Pignatelli in Spanish Costume, 1763

Alexander Roslin

Artwork Title: Comtesse d'Egmont Pignatelli in Spanish CostumeArtwork Title: Comtesse d'Egmont Pignatelli in Spanish CostumeArtwork Title: Comtesse d'Egmont Pignatelli in Spanish CostumeArtwork Title: Comtesse d'Egmont Pignatelli in Spanish Costume
The Comtesse d'Egmont Pignatelli reclines in an opulent van Dyck revival satin dress in this 1763 Roslin portrait. This is recreated 1600s or maybe 1500s style done in the 1700s. 1600s revival was popular in the 1700s. According to Ribeiro in Dress in the Eighteenth Century, pp. 276 - 279 (2002), the Rubens picture of his wife Helena Fourment, was inspiration for dress in England. Gustavus III of Sweden also liked Rubenesque revival (although it was misnamed "Vandyke" back then) and this sitter is associated with Gustavus III. According to the Minneapolis Institute of Art (MIA): "The MIA has purchased a beautiful and important full-length portrait by Alexander Roslin (1718 - 1793), one of the preeminent painters at the court of King Louis XV of France. Completed in 1763, the painting depicts the Comtesse d'Egmont Pignatelli, who was among the most celebrated women in eighteenth-century Paris...One of Roslin's most ravishing society portraits, the oil painting depicts the young and lovely Septimanie de Richelieu (1740-1773) in a relaxed pose, with an open book in her hand, and a small dog by her side. The daughter of the duc de Richelieu, Septimanie married the Casimir Pignatelli, the Comte d'Egmont, when she was 16 years old, becoming the Comtesse d'Egmont Pignatelli. When this painting was commissioned, the comtesse was twenty-three, and at the height of her fame. She was beautiful, intelligent and a frequent guest at the salon of Madame Geoffrin, the confidante of Madame de Pompadour. She was also a key figure at the court of the French king, a close friend of the King of Sweden, Gustav III, and an acquaintance of some of the most important artistic and literary figures of her day. The Comtesse d'Egmont died at age 33 from tuberculosis..." Sometimes theatrical improvements detract from the models they are based on, but the close sleeves filled out with bows are a major improvement over the Michelin man sleeves of the late Renaissance. Lace making was at or near its zenith when this picture was painted so her dressmaker could place a band of lace around the hem of a plain white satin skirt, an option not available in the Renaissance. (http://www.gogmsite.net/reign-of-louis-xv/subalbum-jeanne-sophie-de-v/1763-comtesse-degmont-pigna.html#previous-photo) Depictions of shoes are somewhat rare, but Countess Pignatelli's shoes are depicted here showing the top bow, rounded point, and raised heel. (http://www.gogmsite.net/reign-of-louis-xv/subalbum-jeanne-sophie-de-v/1763-comtesse-degmont-pigna-3.html) The Countess Pignatelli's dressmaker made a ruff trimmed with a delicate band of lace. Her long curls are braided around a pearl rope. (http://www.gogmsite.net/reign-of-louis-xv/subalbum-jeanne-sophie-de-v/1763-comtesse-degmont-pigna-2.html#previous-photo)
Uploaded on Oct 2, 2017 by Suzan Hamer

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