JOHANN GEORG WEIKERT attr.

JOHANN GEORG WEIKERT attr. PORTRAIT OF PRINCESS JOSEPHA SOPHIE VON LIECHTENSTEIN (1776-1848), NÉE LANDGRAVINE ZU FÜRSTENBERG-WEITRA JOHANN GEORG WEIKERT Vienna 1743/5 - 1799 Vienna Oil on canvas 58 x 46 cm / 22.8 x 18.1 inches, framed 69 x 57 cm / 27.2 x 22.4 inches PROVENANCE Austria, private collection In April 1792, one of the most lavish weddings of the era took place in Vienna: Johann I?Joseph of Liechtenstein (1760–1836) married Landgravine Josépha of Fürstenberg-Weitra (1776–1848). The importance of this union was further highlighted by the fact that the groom's older brother, Prince Aloys I, had no heirs – thus this branch of the Liechtenstein family ensured the dynasty's continuity. According to preserved documents, Princess Josépha was expecting her first child, born in September 1793. The portrait under examination was likely created in the period between the wedding and the birth, presumably between 1792 and 1794. The Viennese aristocratic society of that time, with its lavish balls and receptions, captured the attention of the entire Europe. The French painter Élisabeth Vigée Le Brun, who resided in Vienna, never ceased to praise – in her «Souvenirs» – the beauty and elegance of Viennese ladies. Two characteristic excerpts testify to this: «On ne saurait se faire une idée de la prodigieuse quantité de femmes jolies qu’il y avait à Vienne; elles y surpassaient celles de Paris par la beauté, et je crois qu’elles étaient aussi coquettes que nous.» (One cannot imagine the prodigious number of attractive women in Vienna; they surpassed the Parisian women in beauty, and I believe they were just as flirtatious.) «La cour de Vienne m’a paru charmante; la vie y était fort animée, et l’on y donnait des fêtes superbes. Les dames, en particulier, se distinguaient par une élégance rare et un goût prononcé pour la parure.» (The Viennese court seemed charming to me; life there was very lively, and splendid festivals were held. The ladies, in particular, distinguished themselves by a rare elegance and a marked taste for adornment.) These testimonies of the Viennese élite find clear confirmation in the representation of the young Princess Josépha. Her clothing and hairstyle – particularly the small "Turkish"-style scarf, introduced in Europe after the Russo-Turkish War (1787–1791) – testify to the enthusiasm for exotic influences, very much in vogue at the court of Emperor Francis II. Furthermore, the flourishing market of French fabrics, known for the richness of their patterns and their quality, significantly contributed to spreading these trends, giving Viennese fashion a refined and innovative touch. The portrait is attributed to Johann Georg Weikert (1743/5–1799). Born in Vienna, Weikert was trained by the court painter Martin van Meytens, an experience that profoundly marked his path as a master of portraiture and religious painting. His work includes numerous commissioned portraits of the Viennese nobility, as well as altarpieces and decorations for churches of the Austrian monarchy. In a period when Josef Grassi and Giovanni Battista Lampi were leaving Vienna, Weikert established himself as the leading portraitist of the capital. His style perpetuates the tradition established by van Meytens, with a dramatic use of chiaroscuro and a sober, predominantly monochromatic palette. However, the brief contact with the work of Élisabeth Vigée Le Brun left a remarkable impression, manifesting itself in the adoption of new compositional techniques. In this portrait, an almost frontal composition – so appreciated by Vigée Le Brun – offers a sentimental representation of the young consort, recalling the stylistic nuances of the French painter. The attention is focused on the princess's gaze: the warm tone of her face, the delicate transitions of light and shadow around the eyes, and the slight tilt of the head give the whole an impression of immediate liveliness, while emphasizing her high rank. The presence of the "Turkish" scarf and the light draping of a green cloak introduce an exotic and refined note, reflecting the widespread fascination with the East in aristocratic circles. The iconography of the princess is well known thanks to several portraits preserved in the collections of the Dukes of Liechtenstein, made approximately in the same period. The first is an exquisite miniature made by Füger, in which the princess is represented as a bride. The second portrait, in which she appears a few years older and which has a compositional similarity to our work, is attributed to an unknown master, although stylistically it can be traced back to the work of Weikert.