Roslin was born in Malmö, the city in Sweden now famous as a major international business and design center, but in 1718 not much more than a tiny provincial town of a couple of thousand people. He moved to Stockholm in his teens to study painting, and his career might have remained that of a provincial Swedish painter had he not been given the opportunity to travel and study in Germany and Italy. Then in 1752, Roslin moved to Paris, where he met a young lady named Marie-Suzanne Giroust (1734-1772).
Giroust was an orphan from a comfortably well-off, conservative family of artisans, whose father had been jeweler to the King of France. She used her inheritance to study art, and it was while she was taking classes in pastel drawing from Joseph-Marie Vien (1716-1809), later the official court painter to Louis XVI, that she met Roslin at Vien’s studio in The Louvre. The two immediately fell in love, but Giroust’s bourgeois family refused to allow her to marry Roslin: he was from a poor family, he was a foreigner, and he was a Protestant.
It took seven years for Giroust to wear down her guardians, but eventually she succeeded, in part due to the intervention of the Count of Caylus, Roslin’s main artistic patron, and the Swedish Ambassador, who agreed to witness their marriage contract in 1759. This combination of persistence on behalf of the couple, and persuasion on behalf of the higher-ups, eventually convinced Giroust’s family that this would be a respectable marriage. She and Roslin went on to have six children together, 3 boys and 3 girls.
“The Lady With The Veil”, which is in the National Museum in Sweden, was painted by Roslin in 1768. It shows a lady dressed “à la Bolognaise”, the style then fashionable in the Italian city of Bologna. The lady’s head, shoulders, and part of her face are covered by a voluminous, black satin veil, which has led some art historians to speculate that it was painted during Carnival or Lent.
Despite her somber overlay, it is hard to imagine a more feminine and charming image of a lady. The subject of this picture is smiling and blushing at someone over to her left. Even though we can only see one of her eyes, the one that we can see is obviously twinkling at the object of her gaze. Whoever it is, she clearly has a soft spot for them, but it is actually the fan that tells us who she is looking at. (Read more.)Share