Jean-Baptiste Perroneau
(Paris, 1715 – Amsterdam, 1783)
Portrait of a Lady
Oil on oval canvas
60 x 50 cm. - Framed 77 x 66 cm.
Work accompanied by expertise: Raffaelle Colace (Cremona), Ferdinando Arisi
Reference bibliography: d’Arnoult, Dominique (2014) Jean-Baptiste Perronneau, c 1715-1783, un portraitiste dans l'Europe des Lumières
Excerpt from the expertise of Dr. Colace:
This refined portrait of a lady is a perfect example of the style of Jean-Baptiste Perroneau, a highly talented French painter, whose most beautiful works, just like this one, fall between the fifth and sixth decades of the eighteenth century.
"Perroneaeu est plus naturellement coloriste que La Tour, il est, dans sa peinture de poussière colorée, tout plein de tons clairs, frais, presque humides": so writes about him, in La Maison d'un Artiste (1880), the brothers Edmond and Jules de Goncourt, who recognize in the art of Perroneau points of contact with Joshua Reynolds (1723-1792) and in general with English portraiture of the second half of the eighteenth century (cfr. D. Wakefield, French, Eighteenth-Century painting, London 1984, pp. 79-80).
Compared to the magniloquence in the presentation of characters and the technical virtuosity of the French ones, Perroneau's portraits are distinguished by a certain sobriety and a less artificial pictorialism as can be seen in the magnificent Portrait of Daniel Jousse kept in the Musée des Beaux-Arts of Orléans (Fig.1) or in that of Madame Chevoter (Fig.2) of 1751, also in Orléans, executed in pastel - a technique that the painter will prefer from the middle of the century (both illustrated in La Pittura francese, edited by Pierre Rosenberg, Milan 1999, II, p. 502, figs. 487, 488).
The vague note of melancholy that can be read on the face of Madame Chevotet reflects the sentimental and wandering character of the painter who almost always endows his subjects with intelligence, sensitivity, and something remote in the expression, as the distant gaze of our lady also tells us.
Beyond the rendering of the character, the pictorial harmony of the soft colors and the clear light that caresses the pink face and affects the pearl of the clasp in the dark hair that, in their foamy and evanescent rendering, are diluted in the delicately shaded background, while fluid and loose brushstrokes describe the wide neckline of the dress with a white rose in the center.
The colors are those of the 'muted' palette typical of Perroneau, usually played on beige, brown, olive-green, blue and white stamps spread through soft and interrupted brushstrokes on a neutral background with a result of natural delicacy, far from the artificial brightness and pictorial resolution of a Nattier.
It is precisely in the simple and inconspicuous character that the value and charm of the portraits of the French artist reside, which is not surprising that he dedicated himself, from the middle of the eighteenth century, to the more discreet technique of pastel, in keeping with his feeling.
In pastel is, for example, in addition to the already mentioned Madame Chevotet, the beautiful Portrait of a girl with a kitten (Fig.3), of 1743, kept at the National Gallery in London. Kept instead at the Louvre, is the famous Portrait Madame de Sorquainville (Fig.4), oil on canvas, dated 1749, which certainly constitutes one of the greatest achievements of Perroneaut's art (ill. in Wakefield 1984, op. cit., p. 70, fig. 82). Then we can mention the portrait of Magdaleine Pinceloup de la Grange (Fig.5), of 1747, now kept instead at the Getty Museum in Los Angeles.
The painting is sold complete with a pleasant gilded wooden frame and is accompanied by a certificate of authenticity and descriptive iconographic card.
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