The Influence of Romanticism on Female Portraiture

   The Romantic art movement in Europe slowly emerged out of Neoclassicism in the late eighteenth century. It is interesting to study the female portrait as the two art movements overlap and Romanticism takes shape. Interestingly, many of the Romantic artists were trained by Jacques Louis David in the Neoclassic style, or well known ‘Davidian Neoclassicism’. One of his prominent student’s, Jean Auguste Dominique Ingres, went on to teach in the same style and during this time, the lines between Neoclassicism and Romanticism intersected. Theodore Chasseriau, a talented student of Ingres, combined the precise classic style he learned from Ingres with his own individuality, which was a central idea of Romanticism.

    Individual and subjective emphasis became the Romantic approach to portraiture. Portraits slowly diverged from being an exact likeness, to a way for artists to show feeling and emotion. Seeking behavioral and emotional extremes, Romantic artists veered away from historical painting to fictitious and exotic subjects. Eugene Delacroix travelled to Morocco in 1832 and encouraged more artists to travel to exotic places. For instance in 1846, Chasseriau visited Algeria and made sketches which he later used as models for paintings he worked on in Paris. Romanticism thrived on using a diverse range of subjects, in a unique style, hoping to create a feeling in the portrait.

Jacques Louis David, Antoine Laurent Lavoisier and His Wife, Marie Anne Pierrette Paulze, 1788, oil on canvas; 102 1/4 x 76 5/8 in., 1977.10

    Jacques Louis David taught and painted with meticulous contours, forms, and polished brush strokes, modeling the perfect Neoclassical style. This double portrait of a scientist and his wife shows their relationship through their pose and the gaze from husband to wife. The wife is wearing a simple white dress rather than a formal silk gown she would usually wear in public. This was a trend to dress down the portrait in private in neoclassical painting. The husband was also dressed down in black and white to show a nice contrast between the couple. The portrait is described as a brilliant example of Neoclassical portraiture. It defines the couple perfectly, showing them at home together. Antoine poses with his science equipment, and Marie with her easel behind her, as she was a student of David.

Jean Auguste Dominique Ingres, Madame Jacques-Louis Leblanc, 1823, oil on canvas; 47 x 36 ½ in., 19.77.2

    Jean Auguste Dominique Ingres continued in the Neoclassic style he learned from David and fought against the rising support of Romanticism. His painting style utilized the purity of color and was not favored by the public, while shading and the gradual shifting of color in Romantic paintings was well liked. However, many Romantic artists, which he disliked, appreciated Ingres’s talents. Apparently, Ingres’ favorite student, Theodore Chasseriau, after being away painting on his own, had begun using Romantic techniques. Ingres showed his distaste for Romanticism by shunning Chasseriau. Through his staunch adherence to Neoclassicism and his artistic success, he is the standard of Neoclassical painting in contrast to Romanticism. In this portrait, Ingres shows the rich detail of the fabrics, the smooth cashmere shawl, delicate tulle sleeves and adds colorful fabric and chains to contrast the black dress. Madame Jacques-Louis Leblanc looks elegant in the perfect lighting and the detail in her form.

Jean Auguste Dominique Ingres, Josephine-Eleonore-Marie-Pauline de Galard de Brassac de Bearn, 1851–53, oil on canvas; 47 ¾ x 35 ¾ in., 1975.1.186

    This is Ingres’ final commissioned portrait, painting it near the end of his life, when he was already a well known portraitist to the wealthy. Ingres captures the timidity of his subject while using flawless brush strokes to show the quality of her extravagant blue satin and lace gown, her rich embroidered gold shawl, and ornaments of fine pearls and gold. He conforms to precise detail and form and brings out the beauty in the detail. Staying within his Neoclassical style to the end of his life, Ingres was successful in staying with his strongly held artistic style while many were moving on.

Theodore Chasseriau, Comtesse de La Tour-Maubourg, 1841, oil on canvas; 52 x 37 1/4 in., 2002.291

    Theodore Chasseriau, begins to subtly diverge from his early training by Ingres, in this portrait of Comtesse de La Tour-Maubourg. He adds emotion by painting a melancholic mood with muted colors and lighting, and her downcast facial expression and posture. The unnatural shape of her face, enlargement of eyes, and color of skin, is an expression of the Romantic style Chasseriau was moving toward. Ingres would have included bright colors and a naturalistic style of the Comtesse and her surroundings. He did not approve of Chasseriau abandoning his training and opting for the emerging style. This portrait was not favored when first shown in 1841 in the Salon because of its Romantic style. Chasseriau was only twenty-one when he was commissioned to paint this portrait, yet even with the unfavorable review, and being criticized by Ingres, he continued to move further into Romanticism.

Theodore Chasseriau, The Two Sisters, 1843, oil on canvas; 135 x 180 cm, Musee du Louvre, Paris, France

    Two years later, Chasseriau painted this portrait of his two sisters, Adele and Aline. Although they are dressed identically, and look much alike, they are not twins; Adele on the left is two years older than Aline. Which on further inspection, is somewhat noticeable. Adele looks poised and confident and Aline holds on to her in a more devoted way. The two similar portraits are skillfully done, as a mood is created between them. They are interacting in expression and posture, and the shading and colors of the room give a solemn scene. When the painting was shown in the Salon, it had mixed responses. Fortunately Chasseriau did not give up on Romantic portraiture, even with the disapproval of his audience with the Comtesse, and some unfavorable critics with The Two Sisters. Chasseriau only lived thirteen more years after painting this portrait and by the time of his early death, it was considered one of his most important paintings. It was entered into the Louvre in 1918.

Eugene Delacroix, The Orphan Girl at the Cemetery, 1823-1824, oil on canvas; 66 x 54 cm, Louvre, Paris, France

    Eugene Delacroix was a student of Davidian Neoclassicism, like Ingres, but moved into Romanticism being considered the leader of the French Romantic school of painting. Known as the rival to Ingres, he was a prolific artist who influenced many like Chasseriau to explore Romanticism, and to bring in exotic themes. He emphasized colors and movement in his painting, rather than precise form and outline. In this portrait, the orphan girl exudes sorrow and fear with tears of grief. The scene is melancholic with the dim sky and low light. The low posture of the girl and unkempt clothing display her distress. The overall emotion is sadness with loss of hope. Delacroix chose exotic themes and found creative inspiration from unique places. He could create mood and emotion through colors and the mingling of hues.