Tea at Trianon: Masqueraders

John Wilson Croker on Marie-Antoinette

"We have followed the history of Marie Antoinette with the greatest diligence and scrupulosity. We have lived in those times. We have talked with some of her friends and some of her enemies; we have read, certainly not all, but hundreds of the libels written against her; and we have, in short, examined her life with– if we may be allowed to say so of ourselves– something of the accuracy of contemporaries, the diligence of inquirers, and the impartiality of historians, all combined; and we feel it our duty to declare, in as a solemn a manner as literature admits of, our well-matured opinion that every reproach against the morals of the queen was a gross calumny– that she was, as we have said, one of the purest of human beings."

~from History of the Guillotine by John Wilson Croker, 1844

Edmund Burke on Marie-Antoinette

"It is now sixteen or seventeen years since I saw the queen of France, then dauphiness, at Versailles; and surely there never lighted on this orb, which she hardly seemed to touch, a more delightful vision. I saw her just above the horizon, decorating and cheering the elevated sphere she had just begun to move in, glittering like a morning star full of life and splendor and joy. Oh, what a revolution....Little did I dream that I should have lived to see such disasters fall upon her, in a nation of gallant men, in a nation of men of honor and of cavaliers! I thought ten thousand swords must have leaped from their scabbards, to avenge even a look which threatened her with insult. But the age of chivalry is gone; that of sophisters, economists, and calculators has succeeded...."

~Edmund Burke, October 1790

Saturday, February 22, 2014

Masqueraders

From the Metropolitan Museum of Art:

Madrazo was famous during his lifetime and painted portraits for wealthy French, American, British, and Argentine patrons. He was also known for his skillful and often flirtatious genre scenes, such as this painting in the Lehman Collection. In this scene, a couple dressed in extravagant costumes share drinks in a quiet conservatory after a ball. The male leans across the table, gazing at the coquettish blonde female whose face is hidden behind a black mask. She drapes her fingers across her chest, one of many gestures and details in the painting that Madrazo uses to evoke a playfully suggestive subject. The artist further entices the viewer with his beautiful painterly effects seen in the way that he conveys extraordinary material—satin, fur, porcelain, glass, feather, and velvet, all bathed in light.

William Henry Vanderbilt bought this painting in 1878, the same year that Madrazo won the first-class medal at the Exposition Universelle in Paris and was elected to the French Academy. This painting probably showed at the exposition in this year. (Read more.)

The North Coast said...: What a charming painting- it evokes an entire era. The late 19th Century was such a dynamic, glamorous, hopeful time and this lovely little work captures its spirit. Thank you for posting it.; February 23, 2014 at 12:02:00 AM EST
elena maria vidal said...: Thank you for saying so!; February 23, 2014 at 12:05:00 AM EST