Tea at Trianon: Angels' Heads

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

Tuesday, March 29, 2016

Angels' Heads

From Catherine Curzon:

This unusual painting depicts five differing studies of the head of his infant subject, Lady Frances Isabella Keir Gordon. Lady Frances was the five year old daughter of Frances Ingram-Shepheard and her husband, Lord William Gordon, who had once made scandalous headlines thanks to his youthful elopement with one of George III's old flames.

Now years later and steeped in respectability, Lord William commissioned the portrait in summer 1786. Over the months that followed, Reynolds worked tirelessly on the painting, eventually completing it in March 1787. The canvas was displayed at the Royal Academy and Reynolds took as his inspiration for the style a drawing of cherubs' heads by Carlo Maratta. (Read more.)