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Antoine‑Laurent Lavoisier (1743–1794) und seine Frau (Marie‑Anne‑Pierrette Paulze, 1758–1836)

Jacques Louis David French

1788

On view at The Met Fifth Avenue in Gallery 633

Dies ist eins der größten Porträts des 18. Jahrhunderts; es entstand, als David als Bannerträger des französischen Neoklassizismus gefeiert wurde. Lavoisier ist besonders für seine wegbereitenden Untersuchungen von Sauerstoff, Schießpulver und der chemischen Zusammensetzung von Wasser bekannt. Seine Theorien wurden 1789 im Buch Traité élémentaire de chimie mit von seiner Frau angefertigten Illustrationen veröffentlicht, welche zusammen mit David studiert haben soll (auf dem Sessel links liegt eine Mappe ihrer Zeichnungen). Als Schießpulverbeauftragter war Lavoisier in einen politischen Skandal verwickelt, wegen dem er das Gemälde aus dem Salon 1789 zurücknehmen ließ. Trotz seiner Dienste für das Revolutionsregime wurde er 1794 auf der Guillotine hingerichtet.

#5020. Antoine‑Laurent Lavoisier (1743–1794) und seine Frau (Marie‑Anne‑Pierrette Paulze, 1758–1836)

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Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas — Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.

Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas

Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas

Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas

Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas

Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas

Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas

Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas

Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas

Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas

Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas

Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas

Antoine Laurent Lavoisier (1743–1794) and Marie Anne Lavoisier (Marie Anne Pierrette Paulze, 1758–1836), Jacques Louis David (French, Paris 1748–1825 Brussels), Oil on canvas

This artwork is meant to be viewed from right to left. Scroll left to view more.

Fig. 1. Painting in frame: overall

Fig. 2. Painting in frame: corner

Fig. 3. Painting in frame: angled corner

Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.

Fig. 4. Profile drawing of frame. W 7 11/16 in. 19.5 cm (T. Newbery)

Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.

Fig. 5. Combined elemental distribution map for lead (white) and mercury (red) obtained by macro X-ray fluorescence (MA-XRF), Department of Scientific Research and Department of Paintings Conservation, The Metropolitan Museum of Art, New York. Originally published by S.A. Centeno, D. Mahon, F. Carò, and D. Pullins, "Heritage Science" (Springer Open), 2021, https://doi.org/10.1186/s40494-021-00551-y and D. Pullins, D. Mahon, and S.A. Centeno. ‘The Lavoisiers by David: Technical Findings on Portraiture at the Brink of Revolution,’ "Burlington Magazine," 2021, 163: 780–91.

Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.

Fig. 6. A.-B. Duhamel and Jean-Florent Defraine, Chapeau à la Tarare, Detail of plate 2 from "La Magasin des Modes Nouvelles" 36, November 10, 1787, hand-colored engraving, 17.9 x 19.9 cm. (Rijksmuseum, Amsterdam)

Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.

Fig. 7. Infrared Reflectogram, Department of Paintings Conservation, The Metropolitan Museum of Art, New York. Originally published by S.A. Centeno, D. Mahon, F. Carò and D. Pullins, "Heritage Science" (Springer Open), 2021, https://doi.org/10.1186/s40494-021-00551-y and D. Pullins, D. Mahon, and S.A. Centeno. ‘The Lavoisiers by David: Technical Findings on Portraiture at the Brink of Revolution,' "Burlington Magazine," 2021, 163: 780–91.

Due to rights restrictions, this image cannot be enlarged, viewed at full screen, or downloaded.

Fig. 8. Line drawing, produced by tracing information obtained by IRR and XRF, Department of Scientific Research and Department of Paintings Conservation, The Metropolitan Museum of Art, New York. Originally published by S.A. Centeno, D. Mahon, F. Carò, and D. Pullins, "Heritage Science" (Springer Open), 2021, https://doi.org/10.1186/s40494-021-00551-y and D. Pullins, D. Mahon, and S.A. Centeno. ‘The Lavoisiers by David: Technical Findings on Portraiture at the Brink of Revolution,’ "Burlington Magazine," 2021, 163: 780–91.

Titel: Antoine‑Laurent Lavoisier (1743–1794) und seine Frau (Marie‑Anne‑Pierrette Paulze, 1758–1836)

Künstler: Jacques-Louis David, Frankreich, 1748–1825

Datum: 1788

Medium: Öl auf Leinwand

Dimensionen: 259,7 x 194,6 cm

Anerkennung: Neuerwerb, Geschenk von Mr. und Mrs. Charles Wrightsman, zu Ehren von Everett Fahy, 1977

Akzession Nr.: 1977.1

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