Details
JEAN-BAPTISTE ISABEY (NANCY 1767-1855 PARIS)
Portrait de femme au voile
signé ‘J. Isabey.’ (en bas à gauche)
pierre noire, estompe, lavis gris, rehaussé de blanc
16,1 x 12,6 cm (6 1/2 x 5 in.)
Provenance
Vente Nancy, Nabecor Enchères, 10 juin 2017, lot 357.
Post lot text
JEAN-BAPTISTE ISABEY, WOMAN WITH A VEIL, GRAPHITE, STUMPING, GREY WASH HEIGHTENED WITH WHITE, SIGNED
During the Consulate and the Empire, Jean-Baptiste Isabey frequented eminent Parisian artistic and intellectual circles. His portraits were sought after throughout the capital and beyond (B. Chevallier et al., Jean-Baptiste Isabey 1767-1855. Portraitiste de l’Europe, exhib. cat., Malmaison, Museum of Malmaison and Bois-Préau, and Nancy, Musée des Beaux-Arts, 2005, pp. 57-63). In his portraits, Isabey was able to create a balance between resemblance and idealisation of the model (C. Lécosse, Jean-Baptiste Isabey Petits portraits et grands dessins, Paris, 2018, pp. 130-134). The present drawing depicts a woman with a slightly melancholic expression. The artist likes to work on the transparency of the muslin and the gauze veil. This portrait is distinguished by the position of the left hand on the right shoulder, which is uncommon in Isabey’s compositions, but can be found in the Portrait of Laure Regnaud de Saint-Jean-d’Angély from around 1800 (Villa Necchi, Milan; see Lécosse, op. cit., no. XV, ill.).
Details
JEAN-BAPTISTE ISABEY (NANCY 1767-1855 PARIS)
Portrait de femme au voile
signé ‘J. Isabey.’ (en bas à gauche)
pierre noire, estompe, lavis gris, rehaussé de blanc
16,1 x 12,6 cm (6 1/2 x 5 in.)
Provenance
Vente Nancy, Nabecor Enchères, 10 juin 2017, lot 357.
Post lot text
JEAN-BAPTISTE ISABEY, WOMAN WITH A VEIL, GRAPHITE, STUMPING, GREY WASH HEIGHTENED WITH WHITE, SIGNED
During the Consulate and the Empire, Jean-Baptiste Isabey frequented eminent Parisian artistic and intellectual circles. His portraits were sought after throughout the capital and beyond (B. Chevallier et al., Jean-Baptiste Isabey 1767-1855. Portraitiste de l’Europe, exhib. cat., Malmaison, Museum of Malmaison and Bois-Préau, and Nancy, Musée des Beaux-Arts, 2005, pp. 57-63). In his portraits, Isabey was able to create a balance between resemblance and idealisation of the model (C. Lécosse, Jean-Baptiste Isabey Petits portraits et grands dessins, Paris, 2018, pp. 130-134). The present drawing depicts a woman with a slightly melancholic expression. The artist likes to work on the transparency of the muslin and the gauze veil. This portrait is distinguished by the position of the left hand on the right shoulder, which is uncommon in Isabey’s compositions, but can be found in the Portrait of Laure Regnaud de Saint-Jean-d’Angély from around 1800 (Villa Necchi, Milan; see Lécosse, op. cit., no. XV, ill.).
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