The princess is shown in a silk dressing gown, an informal yet exquisitely refined indoor outfit that perfectly exemplifies the elegance of 18th-century French fashion.
Far from being careless, this sartorial choice underscores the sitter’s high rank through its studied simplicity. Her bodice is delicately adorned with a diamond brooch, while a pink veil rests upon powdered hair, in accordance with the aristocratic beauty standards of the time.
This delicate watercolor depicts two elegantly dressed young girls.
This image conveys the refinement and gentleness of early 20th-century bourgeois childhood.
The lady is dressed in a gown known as a “déshabillé,” a refined garment emblematic of French fashion in the 1670s. Her bodice is adorned with black stones—diamonds. At that time, diamonds did not yet reflect light effectively. To accentuate their brilliance, cutters applied soot behind the stones, creating a contrast that gave the illusion of sparkle. This is why, in early Renaissance and 17th-century paintings, diamonds are often depicted in black.
This large-format painting depicts the Last Judgement. The scene shows an angel holding a trumpet, accompanied by two cherubs, standing on a cloud and holding the eternal Gospel, on which we can read in Latin: ‘Timete Dominum, quia venit hora judicii ejus: et adorate eum, qui fecit caelum, et terram, mare, et fontes aquarum.’ This warning is preceded in the texts by: “Then I saw another angel flying in the zenith. He had an eternal Gospel to proclaim to all the inhabitants of the earth, to every nation, tribe, language and people. He cried out with a loud voice: Fear God and give him glory, for the hour has come when he will judge. Worship him who made the heavens, the earth, the sea and the springs.” This is a passage from the Apocalypse of St. John 14:7.
In this painting, we can see an iconographic variation that focuses mainly on the tone given to this scene. While most representations of the Apocalypse depict this scene with an intention of gravity and “chaos”, this painting seems, on the contrary, to announce good news, the triumph of good over evil, of God over Satan.
While depictions of the Last Judgement often show a contrast between the peace of heaven and the chaos on earth, this is partly to highlight the ‘heavenly glory’ of the righteous in contrast to the wicked, who will suffer eternal shame and torment. This eschatological thinking was central to society in the 15th and 16th centuries, as the ‘end of the world’ was a source of great concern to the population.
While this iconography is widely developed in many religious buildings, through frescoes and sculpted tympanums, we can also see it incorporated into tapestry and painting.
This portrait fully illustrates the graceful and elegant style of the school of Hyacinthe Rigaud (Perpignan, 1659 – Paris, 1743), a major figure in portrait painting during the reigns of Louis XIV and Louis XV, characterized by a subtle blend of classical idealization and meticulous attention to detail.
18th-century gouache on vellum depicting three children playing and a leaping dog, set against a green landscape with balustrades, Medici vases, and a pretty pink sky. The children appear to be arranging a large bouquet, as suggested by the basketful of flowers and petals scattered on the ground.
Oil on wood depicting a woman in front of a mirror applying a beauty mark, signed Henri Lafon and dated, original wood and stucco frame.
Henri LAFON (active in France in the second half of the 19th century).
19th century,
France
Embroidery on the back of the mirror depicts a religious marriage of the Virgin Mary and Saint Joseph.
Northern Italy or France
Late 18th century
Oil on canvas, portrait of a child playing with a dog.
Northern School
18th century
She is wearing a dressing gown: an elegant indoor garment very fashionable at the time. This garment is inspired by French fashion. Her hairstyle, typical of the 1670s–1680s, adopts the “hurluberlu” style.