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Portrait of a Lady . Louis Ferdinand Elle the Younger. ( Paris, 1612-1689), attrib
About the Item
Portrait of a lady .
Louis Ferdinand Elle the Younger. ( Paris, 1612-1689), attributed.
Circa 1680.
Oil on canvas, resting on cardboard.
In 19th-century giltwood frame.
A female portrait recently appeared in our gallery from a private collection, the portrait was at first attributed to the Dutch school.
The assessment of the painting's artistic qualities was complicated by its condition: the painting was hidden under a very thick layer of old varnish.
Subsequent cleaning of the painting revealed a high-class original painting by the author. After complex research, the painting was clearly attributed to the French school, and its dating, due to the characteristics of the costume and hairstyle, began to vary between 1670 and 1690.
A stylistic analysis of the portrait allows us to attribute its authorship to the outstanding French portraitist Louis Ferdinand Elle.
After receiving his early artistic training in the workshop of his father Ferdinand Elle (1570 in Mechelen - 1637 in Paris), Louis Ferdinand began an independent career quite early. Thanks to his father's clients, the artist quickly strengthened his position at court.
Elle's youthful and mature portraits (for example, the portrait of Louis XIV in armor, Metz, Musée de la Cour d'Or) show how great an influence her father's work had on the artist. The artist uses established (but somewhat archaic) portraiture from around 1620, characterized by a somewhat elongated silhouette of the figure, soft modeling of light and shadow, and an extremely generalized interpretation of the face.
The artist remained devoted to this scheme for quite a long time, although the portrait formula in France was undergoing significant changes.
All the more unexpected is the radical change in the style of Elle's portraits in the last years of her life, in the 1680s.
This was related to the arrival in Paris of the greatest portrait painter Louis Ferdinand Voet.
Voet's manner, which Pope Innocent XI called "an instrument of voluptuousness" (which is why Voet was forbidden to work in Rome), proved to be incredibly attuned to the artistic atmosphere in Paris. Elle's style begins to resemble Voet's work: her painting becomes more transparent, incredible freedom in technique appears, and her images are full of sensual charm.
A small portrait of an unknown lady from Alina Malova's gallery collection is an excellent example of Elle's latest work.
The painting technique amazes with its virtuosity; it is free and artistic.
Shape modeling is constructed using several artistic techniques simultaneously.
Using light, the artist determines the volume, but completes the form by using the unfinished effect. Interesting figurative interpretation of the model.
A feature of Elle's entire work has been her very personal and intimate view of the model. The dialogue between the person depicted and the viewer in El's work is based on semi-emotions, a technique inherited from his father's art. This is particularly evident in the female portrait of our gallery.
A slight tilt of the head, a gentle gaze, and a slight half-smile create the charm of the image and seem to anticipate the 18th-century French portrait.
- Attributed to:Louis Elle (Ferdinand) (1612 - 1689)
- Dimensions:Height: 23.23 in (59 cm)Width: 20.08 in (51 cm)Depth: 2.37 in (6 cm)
- Medium:
- Movement & Style:
- Period:1680-1689
- Condition:
- Gallery Location:Firenze, IT
- Reference Number:1stDibs: LU2464213224152
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Typical response time: 3 hours
- ShippingRetrieving quote...Ships From: Firenze, Italy
- Return PolicyA return for this item may be initiated within 10 days of delivery.
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