Follower Of Pierre Mignard - Portrait Of A Royal Princess In Ermine Coat

Painting from the time of the late 18th century, representing a royal princess dressed in an ermine coat, follower of Pierre Mignard. Our painting represents a royal princess represented by three-quarters. This young woman from the high aristocracy wears a gray dress embroidered with gold and silver thread brocades, jewels made of pearls and gemstone cabochons. A pearl necklace adorns her neck to emphasize her profile. The neckline is trimmed with a frieze of lace and a blue coat with ermine lapels, emphasizing the importance of her rank, covers her figure. We find in this oval portrait a part of the universe of the one who was nicknamed the Roman, Pierre Mignard, painter of an important artistic line. Our aristocrat is portrayed with verisimilitude and careful psychological grasp. The treatment of the face illuminated by a frontal light, his posture, as well as his perceptive gaze, denote a singular character. This painting imbued with great realism, features a skilful play of materials and colors, mixing immaculate flesh and fiery lips. The intensity of our subject's gaze seems to scrutinize the viewer mischievously. This painting offers to those who contemplate it, a female figure treated with great sensitivity combining charm and finesse. Our painting dates from the end of the 18th century. Follower of Pierre Mignard. It is presented in its original frame adorned with beautiful gilding, the whole carved with motifs of oak leaves, flowers and acorns.

Oil on oval canvas (74.5 cm x 60 cm) and its frame (90 cm x 75.5 cm).

Literature :
Pierre Mignard (1612 - 1695) was a French painter renowned for his portraits. His apprenticeship took place in Bourges before he studied the great decorations of Fontainebleau and then entered Vouet's studio. In 1635, he left for Italy and remained there for twenty years, producing large compositions, devotional paintings, including the Virgins known as "mignardes", portraits in the Bolognese style (in 1654, he traveled to Bologna and Venice). Back in Paris in 1658, protected by Mazarin, Mignard painted the portrait of the king and multiplied the great decorations in the hotels of the aristocracy. But he had to face competition from Charles Le Brun who had the support of Colbert. However, he obtained prestigious commissions which culminated with the (destroyed) decoration of the Château de Saint-Cloud, painted for Monsieur, brother of King Louis XIV, around 1680. Thanks to the support of Louvois, he supplanted Le Brun in favor royal and succeeded him on his death in 1690. The works of Mignard that have come down to us often date from this late phase of his life. The art of Mignard is worth for the quality of its drawing, the serenity of the feeling and the attention granted to reality.

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