FONTAINBLEY SCHOOL – Gabrielle d’Estre with her sister Louvre (Paris)
Louvre – FONTAINBLEY SCHOOL - Gabrielle d’Estre with her sister
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COMMENTS: 5 Ответы
на сестёр мало похоже
Gabrielle dEstrées and her sister (French: Portrait présumé de Gabrielle dEstrées et de sa soeur la duchesse de Villars) is a painting by an unknown artist from the Fontainebleau school.
The painting depicts two women sitting in a bathtub, framed by red curtains. The woman on the right, holding a ring in her left hand, a symbol of fidelity, is Gabrielle dEstrées, the favorite of King Henry IV. On the left is her sister. She pinches Gabrielles right nipple with her left hand, possibly alluding to Gabrielles future pregnancy. It is possible that the painting contains a hint about the secret birth of César de Vendôme, the illegitimate son of Henry IV. In the background, there is a seamstress embroidering with her left hand. Above the fireplace, part of a painting depicting a nude person is visible.
The painting was acquired in 1937 and is currently located in Room 10 on the 2nd floor of the Richelieu Gallery at the Louvre Museum. Code: R. F. 1937-1.
There is another interpretation of this painting. The ring that Gabrielle dEstrées holds is not on her finger as it would be for a married woman. She never became the kings wife because she died just days before their wedding. The bathtub symbolizes death, as in the last minutes of the kings favorites life, a doctor placed her in a tub of water to alleviate the pain. It was there that she died. The seamstress in the background is sewing a burial gown. The woman holding Gabrielle by the nipple is Marguerite de Valois (the first wife of Henry IV). This gesture symbolizes that Gabrielle dEstrées gave the king children, while Marguerite de Valois did not. Queen Margot was infertile. More details about Gabrielle dEstrées death are described in Heinrich Manns novel The Royal Bed.
Художественные достоинства этой картины так ничтожны, что не дают повода для серьезного ее обсуждения.
I have been to the Louvre many times. It is our history. The paintings are very well done. Even in a color photo, it would be worse.
Sincerely, Sergo Amir – E-mail centurii@inbox. lv
Юра Стоян, как хорошо быть идиотом
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The background is dominated by heavy red drapery that frames the figures on either side, drawing attention to them as primary subjects. Behind this curtain, a small painting or relief depicting a classical scene – possibly mythological – is visible, adding another layer of visual complexity and hinting at learned allusions. The dark backdrop contributes to an atmosphere of intimacy and enclosure.
The arrangement of the women suggests a relationship of closeness and shared experience. Their hands meet in a gesture that could be interpreted as either supportive or affectionate. This physical contact is emphasized by their similar postures and expressions, which convey a sense of quiet composure and self-awareness. The bareness of their upper bodies, while potentially provocative, might also signify vulnerability or innocence within the context of courtly portraiture.
The presence of the classical scene in the background introduces an element of intellectualism and cultural refinement. It implies that these women are not merely presented as beautiful objects but also possess a cultivated sensibility and familiarity with artistic traditions. The overall effect is one of restrained elegance, hinting at social status and refined taste while simultaneously inviting contemplation on themes of sisterhood, beauty, and the complexities of courtly life.