2b:I[858142,["/_next/static/immutable/chunks/3vipe45czf5yy.js","/_next/static/immutable/chunks/3f00r_hp1fy4_.js","/_next/static/immutable/chunks/1dx2xrub3rsl4.js","/_next/static/immutable/chunks/2jf7b5lv_tuse.js","/_next/static/immutable/chunks/3c4d3dk1qjpi0.js","/_next/static/immutable/chunks/0yvsfwi3uk3k7.js","/_next/static/immutable/chunks/3aswg1ejf9r7c.js","/_next/static/immutable/chunks/02w39iyajc9iu.js","/_next/static/immutable/chunks/3h5_do8si0qwg.js","/_next/static/immutable/chunks/3e7rilzykmzyv.js","/_next/static/immutable/chunks/0rxezn8g5klwn.js","/_next/static/immutable/chunks/34ts4d7qsipl-.js","/_next/static/immutable/chunks/2pikth_m8e79b.js","/_next/static/immutable/chunks/3o33pi9cbj5rd.js","/_next/static/immutable/chunks/2lva53amgxd_0.js","/_next/static/immutable/chunks/1d_zjvyjru7eq.js"],"default"] 32:I[907429,["/_next/static/immutable/chunks/3vipe45czf5yy.js"],"IconMark"] 2c:T1b7f,Henrietta Maria (1609–1669), the queen consort of Charles I of England, was born in the Louvre and was named after both of her parents, Henry IV of France (1553–1610) and Marie de’ Medici (1573–1642). At the age of fifteen she was married to the king of England. Their first years together were unhappy, because the Duke of Buckingham, a favorite of the king, did all within his power to generate distrust of the young and inexperienced queen, a practicing Roman Catholic who spoke little English. After the assassination of Buckingham in 1628, the king seems genuinely to have fallen in love with his young bride. She bore him nine children, some of whom were to be the subjects of Van Dyck’s most beguiling group portraits. In this portrait Henrietta Maria is a woman of twenty-seven, expecting the birth of her sixth child, Princess Anne, born March 17, 1637. As the Civil War approached, she threw herself into English politics, seeking foreign aid to overthrow the Parliamentarians. In 1642 she sailed to Amsterdam and pawned a great part of the English crown jewels. Returning to England with munitions, she was nicknamed "La Generalissima" because of the military schemes she urged upon her mild-tempered husband. When the Royalist position became hopeless, she fled to France. She was living in the Louvre when she received word that her husband had been beheaded at Whitehall on January 30, 1649. A devout Catholic, Henrietta Maria spent her remaining years trying to convert her children to the Church of Rome and arranging advantageous marriages for them. After the Restoration in 1660, she returned to England for a brief period, taking up residence there in 1662. Three years later she left London for the last time and retired to her château at Colombes, near Paris. Henrietta Maria was painted by Van Dyck many times. His first portrait of her appears in the "greate peece," the large canvas of the king and queen with their two eldest children (Royal Collection, London), executed shortly after the artist settled in England. On May 7, 1633, he was paid for nine portraits of Charles I and his wife. The queen is said to have given Van Dyck no less than twenty-five sittings, and his account of unpaid bills in 1638–39 lists thirteen portraits of "la Reyne": "dressed in blue, price thirty pounds"; "dressed in white, price fifty pounds"; "for presentation to her sister-in-law, the Queen of Bohemia"; "for pre-sentation to the Ambassador Hopton"; and so forth (see Carola Oman, Henrietta Maria, New York, 1936, p. 81). These portraits do not represent fresh and original essays. Most of them probably were repetitions—made by assistants to satisfy the demand for likenesses of her from family and friends—of one or another of the five basic formats the artist had devised for the queen. The existing portraits thus can be classified according to their prototypes, most of them established early in Van Dyck’s time in London: the three-quarter-length in white, originally placed in the King’s Bedchamber at Whitehall and now at Windsor; the three-quarter-length in the collection of the Earl of Radnor at Longford Castle (Wiltshire); the three-quarter-length in blue, of which the autograph version is not at present known; the full-length in state robes in the Schlossmuseum, Oranienburg; and the full-length in a hunting costume with her dwarf, Sir Geoffrey Hudson, in the National Gallery of Art, Washington. For the Wrightsman picture, Van Dyck used the same format he had invented four years earlier for the Radnor portrait, showing the queen standing slightly in front of the imperial crown, with her hands held one above the other at her waist. While the poses are the same, the plain background, the saffron yellow dress with its broad white lace cuffs and collar, the coiffure, and the queen’s engaging expression mark it as a new creation. A completely autograph work, it displays all the evidence of the master’s brushwork, including conspicuous alterations that only he would have made, such as the large pentimento running down the side of the queen’s left sleeve (originally the sleeve was about an inch wider). Similarly, the collar on her left shoulder was lowered, and there are slight changes in the outline of her right sleeve. A copyist would not have reproduced these changes, as they became noticeable only long after the portrait was completed and the underpainting gradually became visible with age. Further evidence that this is a primary version can be seen in the way the artist applied the background color. When the queen gave her first sitting, he merely laid in the paint immediately around her head. Then, at a later stage, he filled in the rest of the background but did not quite match the color, so that the first patch is somewhat darker, resembling an opaque halo around the head. Another feature indicating Van Dyck’s own work is the incomplete preparation of the canvas: a margin roughly three inches wide on all four sides of the canvas is unprimed. A painter setting out to copy the composition would have prepared the entire canvas at once, whereas Van Dyck, being uncertain of the ultimate dimensions of the picture, filled in these margins after he had completed the figure. The present portrait was executed in 1636 as a gift for Francesco Barberini (1597–1679). As Cardinal Protector of England and Scotland, he sought to improve relations between Charles I and the Church of Rome. Knowing of the king’s voracious appetite for collecting art, the cardinal sent a large group of Italian pictures to the queen; they reached England in 1636 and gave much pleasure to the royal family. In December of the same year, George Con, a papal agent to the court of Saint James’s and the queen’s personal confessor, reported to Cardinal Barberini, "The Queen has not yet wanted me to present her the letter of Your Eminence, because having been apprised of its contents and knowing that I would ask Her Majesty for permission to take leave from her, she is delaying until her portrait is finished." As Oliver Millar first observed, the portrait mentioned by Con is probably The Met’s painting, which may well have been intended as a token of appreciation. The year after Cardinal Barberini’s pictures arrived in England, Henrietta Maria prepared a display of them in her chapel at Somerset House, and the following year she entrusted him with the responsibility of commissioning from Guido Reni a large painting for the ceiling of the bedroom of her house at Greenwich. Cardinal Barberini had also arranged for Gianlorenzo Bernini (1598–1680) to carve a bust of Charles I, which, unfortunately, was lost in the fire that destroyed Whitehall Palace in 1698. Henrietta Maria admired it so much that she solicited through the cardinal "her own portrait" by Bernini, for which Van Dyck painted his last portraits of her, a frontal view and two profiles, to serve as guides for the sculptor. [2016; adapted from Fahy 2005]2d:Td57,With the exception of the Romanelli painted for Cardinal Antonio Barberini, the following copies presumably were based on a replica that remained in England: Amsterdam, Christie’s, October 13, 1998, no. 22 (property of Baron van Zuylen). Oil on canvas, 42 1⁄8 × 33 7⁄8 in. (107 × 86 cm). Arundel Castle (Sussex), Duke of Norfolk. Devon (Pennsylvania), Clifford H. Harding (his estate, Sotheby’s, New York, October 14, 1992, no. 234; ex-collections William K. Vanderbilt, Paris; H. S. Keesing). Oil on canvas, 50 × 41 in. (127 × 104 cm). Dunrobin Castle, Golspie, Sutherland (Scotland), Countess of Sutherland. Oil on canvas, 43 × 33 in. (109.2 × 83.8 cm). Eastnor Castle (Herefordshire), James Hervey Bathurst. Eureka Springs (Arkansas), private collection. Hampden House, Earl of Buckinghamshire (in 1898); Miss Z. Newman (Sotheby Parke Bernet, London, July 7, 1982, no. 21). Oil on canvas, 84 × 48 in. (213.4 × 121.9 cm). Based on the Warwick Castle version. Hinton Saint George, Earl Poulett (before 1882). Kilkenny Castle, Kilkenny (Ireland). Based on the Warwick Castle version; attributed to James Gandy. London, National Portrait Gallery (227). Oil on canvas, 43 × 32 1⁄2 in. (109.2 × 82.6 cm). London, Christie’s, December 10, 1971, no. 83 (property of the Rt. Hon. the Lord Margadale of Islay). Oil on canvas, 41 × 31 in (104.1 × 78.7 cm). London, Sotheby’s, April 4, 1962, no. 86. Oil on canvas, 26 1⁄2 × 22 in. (67.3 × 55.9 cm). London, Sotheby’s, November 12, 1997, no. 37. Oil on canvas, 41 1⁄2 × 33 in. (105.4 × 83.8 cm). Louisville (Kentucky), private collection “from South America via Miami” (in 1974). Oil on canvas, 29 3⁄4 × 23 1⁄2 in. (75.6 × 59.7 cm). Melbourne (Derbyshire), Lt. Col. Sir Howard Kerr. Oil on canvas, 34 ×  27 1⁄2 in. (86.4 × 69.9 cm). Melbury House (Dorset), Earl of Ilchester. New York, Christie’s, October 12, 1989, no. 157 (ex-collection Sir Lewes T. L. Pryse). Oil on canvas, 29 × 24 1⁄2 in. (73.6 × 62.2 cm). Northwick Park (Oxfordshire), Capt. E. G. Spencer Churchill (Christie’s, London, June 19, 1959, no. 6; Christie’s, November 14–15, 1974, no. 296). Oil on canvas, 27 1⁄2 × 21 in. (69.9 × 53.3 cm). Oxford, Saint John’s College. Paris, Pereire collection, sale chez M. Charles Pillet, March 6–9, 1872, no. 119. Oil on canvas, 39 3⁄8 × 32 5⁄8 in. (100 × 83 cm). Rome, Cardinal Francesco Barberini’s brother, Cardinal Antonio Barberini, Rome (in 1639). By Giovanni Francesco Romanelli (ca. 1610–1662). Rome, Vito Memeli (in 1970). Oil on canvas, 39 3⁄8 × 29 1⁄2 in. (100 × 75 cm). Vaduz, the Principality of Liechtenstein. Oil on canvas, 38 3⁄4 × 32 1⁄8 in. (98.5 × 81.5 cm). Warwick Castle (Warwickshire), the Tussaud’s Group. Oil on canvas, 50 × 32 in. (127 × 81.3 cm), later enlarged to 88 × 51 1⁄2 in. (223.6 × 130.8 cm). Whereabouts unknown, Mrs. Randolph. Part of a double portrait with Charles I. Photograph in Witt Library, London. Wilton House (Salisbury), Earl of Pembroke. Miniatures Boughton (Northamptonshire), Duke of Buccleuch. London, The Royal Collection (RCIN 421746). Enamel, oval, 1 1⁄2 × 1 1⁄4 in.  (3.8 × 3.2 cm). Style of Jean Petitot (1607–1691). Etching Wenceslaus Hollar (1607–1677). Plate, 6 1⁄8 × 4 5⁄8 in. (15.6 × 11.9 cm). Inscribed: Ant: van dyck pinxit, W. Hollar fecit / 1641.22e:T654,This bronze equestrian group represents Elector of Bavaria Maximilian II Emanuel (r. 1679-1726) on rearing steed, triumphantly vanquishing a fallen enemy sprawled below. Maximilian likely commissioned the work directly from the artist, Roger Schabol, to commemorate the Elector’s 1686 military victory over the Ottoman Turks at the Siege of Belgrade. An enigmatic sculptor and founder active at the court of Louis XIV, Schabol signed and dated the work along the front edge of the base. Little is known about the artist, making this superbly cast bronze an invaluable contribution to his oeuvre. Schabol came from Brussels to Paris in the 1680s, where by 1687 he is documented as part of a team of sculptors active on the Parterre d’Eau at Versailles. Schabol developed expertise casting equestrian monuments working alongside notable sculptors like Francois Girardon and Martin van den Bogaert, known as Desjardins. Schabol probably owned models by Desjardins and had the authority to reproduce them.

Here, he adapted the composition of Desjardins’ planned equestrian sculpture of Louis XIV for Aix-en-Provence to celebrate the Bavarian Elector, inserting the latter’s features and armor into the design. An earlier statuette of the Elector on horseback, signed and dated 1699, is in the Germanisches Nationalmuseum, Nuremberg. Schabol’s prowess at casting bronze, with his signature refinements and fastidious chasing, is on full view here. The work is a superbly cast assemblage of multiple parts, and remarkably preserves much of its red and golden lacquer and its original ornamental gilt base.2f:T64f,This bronze equestrian group represents Elector of Bavaria Maximilian II Emanuel (r. 1679-1726) on rearing steed, triumphantly vanquishing a fallen enemy sprawled below. Maximilian likely commissioned the work directly from the artist, Roger Schabol, to commemorate the Elector’s 1686 military victory over the Ottoman Turks at the Siege of Belgrade. An enigmatic sculptor and founder active at the court of Louis XIV, Schabol signed and dated the work along the front edge of the base. Little is known about the artist, making this superbly cast bronze an invaluable contribution to his oeuvre. Schabol came from Brussels to Paris in the 1680s, where by 1687 he is documented as part of a team of sculptors active on the Parterre d’Eau at Versailles. Schabol developed expertise casting equestrian monuments working alongside notable sculptors like Francois Girardon and Martin van den Bogaert, known as Desjardins. Schabol probably owned models by Desjardins and had the authority to reproduce them. Here, he adapted the composition of Desjardins’ planned equestrian sculpture of Louis XIV for Aix-en-Provence to celebrate the Bavarian Elector, inserting the latter’s features and armor into the design. An earlier statuette of the Elector on horseback, signed and dated 1699, is in the Germanisches Nationalmuseum, Nuremberg. Schabol’s prowess at casting bronze, with his signature refinements and fastidious chasing, is on full view here. The work is a superbly cast assemblage of multiple parts, and remarkably preserves much of its red and golden lacquer and its original ornamental gilt base. 30:T13e9,With its stately pose and lush handling, this painterly sheet depicting Marie-Antoinette in a garden embodies all the qualities that brought success to Vigée Le Brun as a portraitist to the ancien régime court. The young Austrian-born Queen, Marie-Antoinette was a central figure in Vigée Le Brun’s career, responsible in many ways both for her meteoric rise to fame and for her subsequent difficulties. While some artists, like her friend Hubert Robert, at the time of the Revolution sought their survival in adaptation, Vigée Le Brun remained a staunch monarchist and found her new patrons in foreign courts and among fellow emigrés and royalist sympathizers.

When Vigée Le Brun, a young woman of twenty-three, was summoned to Versailles in 1778 to execute a full-length standing portrait of the queen, it was a distinction which must have both propelled her career and incited jealousy among certain members of the Académie royale who shared her specialty. The result, a regal, yet conventional standing portrait in an interior "en robe à paniers" hangs today in the Kunsthistoriches Museum in Vienna. It would be the first of many such commissions for Vigée Le Brun, a challenging assignment as the public image of the foreign-born queen came increasingly under attack, and state portraits took on the burden of recovering her much-maligned reputation. The situation came to its most critical juncture at the Salon of 1785 when the exhibition of Adolf Ulrik Wertmüller’s canvas of Marie Antoinette and her two children strolling in the Trianon Gardens (Nationalmuseum, Stockholm) met with widespread derision, apparently for the perceived frivolity of their demeanor. To repair the damage, Vigée Le Brun was called upon to produce another portrait of the Queen and her children to be ready for the following Salon in 1787. Although it was not within her power to redeem the unpopular queen, Vigée Le Brun’s attempt was a tour de force of state portraiture. She presented Marie Antoinette at once as a monarch and fulfilling the natural role of a mother as promoted by Rousseau. The composition was based on the Renaissance pyramidal model, invoking Raphaelesqe forerunners.

Although she painted over twenty portraits of Marie Antoinette, the Wrightsman sheet is Vigée Le Brun’s only known drawing of the Queen. Was it intended as an independent work or to present an idea for a painted composition? Unfortunately, surviving sheets by her hand are so few that we can do little more than speculate. A pastel study for her reception piece, Peace Bringing back Plenty (1780, Musée du Louvre, Paris) was published by Pierre Rosenberg in 1981 (Pierre Rosenberg, "A Drawing by Madame Vigée-le Brun," Burlington Magazine, CXXIII [December 1981], pp.739-40), but she does not seem to have prepared her portraits in the same manner. Indeed, with the paucity of comparable examples, it is not surprising that when the Wrightsman sheet first appeared on the French art market in 1961, it bore an attribution to François-André Vincent (1746-1816), with its true author only identified by Joseph Baillio at the time of the Christian Humann sale in 1982.

The quick pace of change in the fashion of hairstyles during the years Vigée Le Brun worked for Marie-Antoinette would suggest a date of ca.1780-81 for the Wrightsman sheet, just before the appearance of the frizzed bouffant (hérisson) hairstyles of the 1780s. The Queen’s hair is pulled high and far back from her face and topped with a gauze bonnet decorated with flowers. Large, relaxed curls fall around the nape of her neck. The queen’s dress is a robe à la polonaise, a style that first appeared in 1775. A series of panels are looped up into large billowing forms to reveal the striped chiffon petticoat with a flounced trim. The view chosen by Vigée Le Brun draws attention to close-fitting area around the small of the back which distinguished the silhouette of the polonaise from that of the robe à la française which fell in pleats from the shoulders. Joseph Baillio has drawn attention to a mention in Charles-Edouard de Crespy Le Prince’s Chroniques sur les cours de France which described the young queen, after appearing in the Versailles performance of the opéra-comique Rose et Colas, as desiring her portrait done by Vigée Le Brun in her costume and the artist then making a sketch on the spot (see Baillio, 1983, p.34). Although this mention is of interest, the Wrightsman sheet could not be the one described in the anecdote as Crespy Le Prince refers to the Queen’s coiffure as "en cornette de paysanne", a much bulkier style of bonnet than the one depicted in the present sheet. Nonetheless, Aileen Ribeiro has observed that the vaguely rural headdress, the puffs on the skirt, and the filmy petticoat all carry a slight suggestion of theater, or at least of an aristocratic woman playing at the pastoral (Correspondence, September 29, 2003).

Perrin Stein, adapted from The Wrightsman Pictures, New York, 2005, cat.69, pp.252-54.31:T13ca, With its stately pose and lush handling, this painterly sheet depicting Marie-Antoinette in a garden embodies all the qualities that brought success to Vigée Le Brun as a portraitist to the ancien régime court. The young Austrian-born Queen, Marie-Antoinette was a central figure in Vigée Le Brun’s career, responsible in many ways both for her meteoric rise to fame and for her subsequent difficulties. While some artists, like her friend Hubert Robert, at the time of the Revolution sought their survival in adaptation, Vigée Le Brun remained a staunch monarchist and found her new patrons in foreign courts and among fellow emigrés and royalist sympathizers. When Vigée Le Brun, a young woman of twenty-three, was summoned to Versailles in 1778 to execute a full-length standing portrait of the queen, it was a distinction which must have both propelled her career and incited jealousy among certain members of the Académie royale who shared her specialty. The result, a regal, yet conventional standing portrait in an interior "en robe à paniers" hangs today in the Kunsthistoriches Museum in Vienna. It would be the first of many such commissions for Vigée Le Brun, a challenging assignment as the public image of the foreign-born queen came increasingly under attack, and state portraits took on the burden of recovering her much-maligned reputation. The situation came to its most critical juncture at the Salon of 1785 when the exhibition of Adolf Ulrik Wertmüller’s canvas of Marie Antoinette and her two children strolling in the Trianon Gardens (Nationalmuseum, Stockholm) met with widespread derision, apparently for the perceived frivolity of their demeanor. To repair the damage, Vigée Le Brun was called upon to produce another portrait of the Queen and her children to be ready for the following Salon in 1787. Although it was not within her power to redeem the unpopular queen, Vigée Le Brun’s attempt was a tour de force of state portraiture. She presented Marie Antoinette at once as a monarch and fulfilling the natural role of a mother as promoted by Rousseau. The composition was based on the Renaissance pyramidal model, invoking Raphaelesqe forerunners. Although she painted over twenty portraits of Marie Antoinette, the Wrightsman sheet is Vigée Le Brun’s only known drawing of the Queen. Was it intended as an independent work or to present an idea for a painted composition? Unfortunately, surviving sheets by her hand are so few that we can do little more than speculate. A pastel study for her reception piece, Peace Bringing back Plenty (1780, Musée du Louvre, Paris) was published by Pierre Rosenberg in 1981 (Pierre Rosenberg, "A Drawing by Madame Vigée-le Brun," Burlington Magazine, CXXIII [December 1981], pp.739-40), but she does not seem to have prepared her portraits in the same manner. Indeed, with the paucity of comparable examples, it is not surprising that when the Wrightsman sheet first appeared on the French art market in 1961, it bore an attribution to François-André Vincent (1746-1816), with its true author only identified by Joseph Baillio at the time of the Christian Humann sale in 1982. The quick pace of change in the fashion of hairstyles during the years Vigée Le Brun worked for Marie-Antoinette would suggest a date of ca.1780-81 for the Wrightsman sheet, just before the appearance of the frizzed bouffant (hérisson) hairstyles of the 1780s. The Queen’s hair is pulled high and far back from her face and topped with a gauze bonnet decorated with flowers. Large, relaxed curls fall around the nape of her neck. The queen’s dress is a robe à la polonaise, a style that first appeared in 1775. A series of panels are looped up into large billowing forms to reveal the striped chiffon petticoat with a flounced trim. The view chosen by Vigée Le Brun draws attention to close-fitting area around the small of the back which distinguished the silhouette of the polonaise from that of the robe à la française which fell in pleats from the shoulders. Joseph Baillio has drawn attention to a mention in Charles-Edouard de Crespy Le Prince’s Chroniques sur les cours de France which described the young queen, after appearing in the Versailles performance of the opéra-comique Rose et Colas, as desiring her portrait done by Vigée Le Brun in her costume and the artist then making a sketch on the spot (see Baillio, 1983, p.34). Although this mention is of interest, the Wrightsman sheet could not be the one described in the anecdote as Crespy Le Prince refers to the Queen’s coiffure as "en cornette de paysanne", a much bulkier style of bonnet than the one depicted in the present sheet. Nonetheless, Aileen Ribeiro has observed that the vaguely rural headdress, the puffs on the skirt, and the filmy petticoat all carry a slight suggestion of theater, or at least of an aristocratic woman playing at the pastoral (Correspondence, September 29, 2003). Perrin Stein, adapted from The Wrightsman Pictures, New York, 2005, cat.69, pp.252-54.7:["$","$L2b",null,{"title":"MetCollects: Wrightsman Bequest","subtitle":null,"about":null,"suggestedLinks":null,"announcements":[],"segments":[{"name":"The Met Collection","path":"/art/collection"},{"name":"MetCollects: Wrightsman Bequest","path":""}],"objectPackage":{"id":605,"title":"MetCollects: Wrightsman Bequest","objects":[{"id":438112,"objectID":438112,"titles":{"primary":{"title":"Queen Henrietta Maria"}},"artists":{"primary":{"displayName":"Anthony van Dyck","constituentID":161858,"nationality":"Flemish","prefix":null,"role":"Artist","roleID":19},"all":[{"displayName":"Anthony van Dyck","constituentID":161858,"nationality":"Flemish","prefix":null,"role":"Artist","roleID":19}]},"period":"","date":"1636","extendedStatuses":["accessioned"],"culture":"","medium":"Oil on canvas","dimensions":"41 5/8 × 33 1/4 in. 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