Presentation: George Washington and Princesse de Broglie


       In the met, I visited the art piece, George Washington by Adolf Ulrik Wertmuller. Adolf was a painter from Stockholm, Sweden born in 1751 and traveled all over Europe studying art under  Alexander Roslin and  Joseph-Marie Vien while commissioning works such as George Washington and a portrait of Marie Antoinette. His work usually incorporates pastels and realistic body forms. 

Marie Antoinette in a hunting dress, (1788)

ca. 1762

At first, I thought that his work, mainly George Washington and Marie Antoinette in a hunting dress would be considered Rocco because of the portraits are reminiscent of the stylish and decorative, but considering that both portraits are of political leaders and royalty it may also lean on Neoclassicism. The years they were created also lead me to this conclusion. George Washington was painted in 1795 and Marie Antoinette in a hunting dress was created in 1788 during the Neoclassical era.  

The curved lines along George Washington’s face allude to softness which is also shown in the heavy pink of his cheeks. The black and gray his jacket also strongly contrasts with his cheeks and make his face pop out of the negative space.


Ca. 1795

Medium: Oil on canvas


  I also visited the painting Princesse de Broglie by Jean-Auguste-Dominique Ingres . Ingress was born in Montauban, France in 1780.  Despite his traditional schooling being interrupted during his youth due to the French Revolution, he eventually went on the become a fairly acclaimed artist until his death in 1867, not very long after he completed Princesse de Broglie. Ingress was known for his Neoclassical work having multiple commissions as he participated in the movement another of his works being Joan of Arc at the Coronation of Charles VII.

Joan of Arc at the Coronation of Charles VII

Ca. 1854
Medium: Oil on canvas

 The lines on Joan of Arc’s face as she stands to look up heaven are similar in softness to the portrait of the princess in which the softness alludes to a shy disposition. Aside from the title of the piece, the detail and embroidery on her ball gown show that she lives in luxury as does the paleness of her skin, alluding to the likeliness that her skin’s never darkened from labor.

Joséphine-Éléonore-Marie-Pauline de Galard de Brassac de Béarn (1825–1860), Princesse de Broglie

Princesse de Broglie

ca. 1851–53
Medium: Oil on canvas


Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Google+ photo

You are commenting using your Google+ account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )


Connecting to %s