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拍品专文
Ce tableau a été rendu en 2002 par Dominique Brême à Hyacinthe Rigaud, dont on reconnaît la manière bien caractéristique du début de carrière : perruque évanescente et duveteuse, plis géométriques aux sillons d’ombres marqués, zébrés d’un trait incandescent, fort clair-obscur. Le jeune Rigaud joue sur une harmonie de tons chauds – sang de bœuf de l’ample manteau dont les plis rougeoient comme à la lumière d’une flamme ; blondeur fauve de la chevelure et des sourcils ; ambiance brun doré de l’arrière-plan – qui met en valeur le teint diaphane et délicat du modèle, qu’ourlent des lèvres vermeilles, auxquelles les impacts de blanc donnent un aspect presque laqué. La cravate de dentelle aux fuseaux de Flandre, simplement nouée autour du cou, est une nouveauté vestimentaire que l’artiste prend soin de retranscrire. De Lyon, où il fait ses premières armes, à Paris où il s’installe définitivement à partir de 1681, le jeune Rigaud se place résolument sous l’influence de Van Dyck, son maître absolu en « l’art de portraiture », dont il retient, comme dans notre tableau, la séduction racée d’effigies aristocratiques.
Nous remercions Madame Ariane James-Sarazin pour la rédaction de cette notice et pour les informations bibliographiques fournies.
In 2002, this painting was attributed by Domenique Brême to Hyacinthe Rigaud, whose characteristic early style is immediately recognisable: the frothy, downy wig, the geometric folds with their pronounced shadows, striped with a warm light, and the strong chiaroscuro. Here the young Rigaud can been seen playing with a medley of warm tones: the ox-blood red of the sitter’s voluminous coat, whose folds glow as if lit by candle-light; the tawny blond of his hair and eyebrows; and the golden brown of the background, which all set off the sitter’s translucent, delicate complexion; here scarlet lips curl, appearing almost lacquered thanks to the touches of white highlighting. The Flemish lace cravat, simply knotted around the sitter’s throat, is a fashionable new item of clothing that the artist has taken care to reproduce with exactitude. From his first forays in Lyon, to Paris, where he established himself permanently from 1681, the young Rigaud was clearly influenced by van Dyck, his supreme master in ‘the art of portraiture’, whose element of sophisticated seduction in his aristocratic sitters Rigaud continued to emulate, as demonstrated so wonderfully in the present work.
We would like to thank Madame Ariane James-Sarazin for her help in writing this entry and for providing detailed bibliographic information.
Nous remercions Madame Ariane James-Sarazin pour la rédaction de cette notice et pour les informations bibliographiques fournies.
In 2002, this painting was attributed by Domenique Brême to Hyacinthe Rigaud, whose characteristic early style is immediately recognisable: the frothy, downy wig, the geometric folds with their pronounced shadows, striped with a warm light, and the strong chiaroscuro. Here the young Rigaud can been seen playing with a medley of warm tones: the ox-blood red of the sitter’s voluminous coat, whose folds glow as if lit by candle-light; the tawny blond of his hair and eyebrows; and the golden brown of the background, which all set off the sitter’s translucent, delicate complexion; here scarlet lips curl, appearing almost lacquered thanks to the touches of white highlighting. The Flemish lace cravat, simply knotted around the sitter’s throat, is a fashionable new item of clothing that the artist has taken care to reproduce with exactitude. From his first forays in Lyon, to Paris, where he established himself permanently from 1681, the young Rigaud was clearly influenced by van Dyck, his supreme master in ‘the art of portraiture’, whose element of sophisticated seduction in his aristocratic sitters Rigaud continued to emulate, as demonstrated so wonderfully in the present work.
We would like to thank Madame Ariane James-Sarazin for her help in writing this entry and for providing detailed bibliographic information.