Franz Xavier Winterhalter – Empress Eugenie Surrounded by her Ladies in Waiting
1855. 300x402
Location: Chateau de Compiegne, Compiegne (Château de Compiègne).
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COMMENTS: 8 Ответы
полагаю.. в синем платье..
красиво
почему вы так решили?
Думается та, кто получила букетик, а не та, что рассыпала. Ну и на осанку обратите внимание.
с сиреневым бантом?
она единственная... у кого в волосах цветы
http://gallerix.ru/storeroom/1941543836/N/422395/
тут она тоже
Here... I found it...
Empress Eugénie surrounded by ladies-in-waiting.
Its amazing that thanks to this painting, history has preserved the names of the ladies in the Empresss retinue.
The Empress herself is seated slightly to the left of the center of the painting, wearing a white dress with lavender ribbons.
To the left of the Empress, in a pink dress, is Princess Anna d’Essling (1802-1887), a lady-in-waiting.
Between her and the Empress in the foreground are two ladies in white – Baroness Jeanne de Pierres (1821-1873) in a white dress with blue ribbons, and Viscountess Louise de Lezay-Marnesia (1826-1891), in a white dress with a pink ribbon.
Next to the Empress is a lady in black, Duchess Paulina Bassano (1814-1867).
In the center of the painting, wearing a green dress, is Marchioness Adriana de Montebello (1826-1870).
And on the right is a group of ladies-in-waiting: Baroness Nathalie de Malaret in yellow (1827-1910), Marchioness de Las Marismas (Vicomtesse Aguado, Marquise de Las Marismas del Guadalquivir) in white (1817-1905), and Marchioness de la Tour Mabourg in blue (1829-1900).
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The overall impression is one of aristocratic elegance and leisure. The women are adorned in lavish fabrics such as silk, lace, and velvet, in a range of pastel and rich colors which contrast with the verdant greens of the garden. Their hairstyles are elaborate, often decorated with flowers or ribbons, and they wear delicate jewelry. The setting itself, with its dappled sunlight, mature trees, and hint of a stone architectural element in the background, evokes a sense of refined natural beauty and an escape from the formalities of court life.
The subtext of the painting is multi-layered. Primarily, it serves as a portrait of power and status, showcasing the Empress and her inner circle. The meticulous detail in the clothing and the formal yet relaxed posing suggest a carefully curated image of imperial grandeur. The presence of flowers, often associated with beauty, love, and femininity, reinforces the idealized portrayal of the empress and her court.
Furthermore, the intimate grouping and some of the glances between the women might hint at the personal relationships and dynamics within the empresss entourage, though this is largely open to interpretation. The painting can be seen as a visual representation of the Second French Empires aesthetic – a period often characterized by a return to splendor and a romanticized view of history and nature. It conveys an image of feminine beauty, grace, and the elevated lifestyle of the imperial court.